Hong Kong films are once again claiming the spotlight on the international stage following the success of crime thriller Sons of the Neon Night, which premiered at the Cannes Film Festival in May.
The animated fantasy film Another World – in Hong Kong cinemas on 29 October – drew global attention after its launch at the prestigious Annecy International Animation Film Festival in France in June.
With a core team is based in Hong Kong, the animation is a global production with funding from the Philippines and the Middle East, and creative collaborators from Japan, the Philippines, Taiwan and France.
Such pan-Asian production collaborations are becoming increasingly common according to a recent discussion between Hong Kong filmmakers Raman Hui, Polly Yeung and Samuel Choy ahead of a joint presentation at the Tokyo International Film Festival Content Market (TIFFCOM).
Raman Hui – a renowned Hong Kong-born animation director best known for blockbusters Monster Hunt and Shrek the Third – said that his latest project involved partnerships with Thai artists in addition to American and European artists, describing such cross-border teamwork as “very important”.
“AI will facilitate these collaborations and make them more productive,” Mr Hui noted, adding that it will lead to more co-productions and delivery partnerships.
While such collaborations inject fresh creative energy, they also come with unique challenges, noted Another World producer Ms Yeung.
“When collaborating with partners in the Middle East, we needed to consider Ramadan and different work hours. Similarly, for the Philippines, we had to deal with heavy rain disrupting connectivity. We needed to accept the difficulties colleagues face in their living environments with humility.”
Ecosystem supports creative growth
A vital pillar of the city’s film industry is its robust creative ecosystem, said the filmmakers, noting it is essential for sustaining innovation and growth.
“Hong Kong has a comprehensive IP system, which protects copyright, trademarks and designs. This allows IPs from illustration, games and brands to thrive across media – from screens to merchandising and exhibitions,” said Mr Choy, producer of the McDull animation series.
Such legal protections are just the start. The city is also a hub for IP asset trading and commercialisation.
Through film festivals and marketplaces, such as the Hong Kong Trade Development Council’s FILMART and the Hong Kong International Licensing Show, Hong Kong offers an ideal platform for creatives across Asia to connect with partners and explore collaborations.
Ms Yeung revealed that Another World had attracted funders at TIFFCOM’s Gap-Financing Market based on its screening at the Hong Kong Asian Fim Festival.
“Feedback from the festival or distributors is crucial in determining the future direction and expectations of a film.”
In an era where audiences face limitless choice and shrinking attention spans, the industry’s future hinges on a steady stream of quality productions, said Mr Hui in conclusion.
“It is important to first continuously produce high-quality productions that are loved by the Hong Kong and Asian markets. Then, we will expand into the international market in a natural way.”
FILMART is Asia's leading content marketplace for the entertainment industries, covering films, television programmes, animations, digital entertainment and music.
The event connected more than 760 exhibitors from 34 countries and regions to over 7,600 industry practitioners from 42 countries and regions in 2025.
|
|
|