Three decades in, the city’s flagship film and content market is embracing AI and expanding its global reach
Three Decades of Filmart: From Uncertain Beginnings to Industry Powerhouse
When Filmart launched in June 1997, just weeks before Hong Kong’s handover to Chinese sovereignty on July 1 of that year, the atmosphere was charged with uncertainty. The city’s legendary film industry — once dubbed the Hollywood of the East — was already showing signs of strain. Local box office numbers were declining, production volumes were falling, and no one could say with confidence what the transition to Chinese rule would mean for the creative freedoms that had made Hong Kong cinema so vibrant. The Hong Kong Trade and Development Council made a calculated bet: position the city as a bridge between Chinese-language cinema and the global market, and let Filmart be the annual proof of that vision. Thirty editions later, the bet has paid off in ways its founders could not have imagined.
What Filmart 2026 Looks Like
The 30th edition of Filmart runs March 17 to 20 at the Hong Kong Convention and Exhibition Centre, and organisers have signalled it will be the most ambitious version of the event yet. The market is deliberately repositioning itself from a content marketplace into what it describes as a comprehensive platform for the entire entertainment ecosystem. That means technology, strategic partnerships, and innovative resources alongside the traditional deal-making and screening functions that built its reputation. Artificial intelligence is front and centre this year. Industry research firm PwC has projected that AI will contribute $15.7 trillion to the global economy by 2030, with media and entertainment capturing a disproportionate share of that value. Filmart is responding by introducing an AI Hub with dedicated programming, industry training, and hands-on workshops. Emerging AI companies including KlingAI, Minimax, Xuanjia Technology, and Daogu Culture will have a presence on the floor.
The IP Marketplace Comes of Age
One of the most significant structural shifts at Filmart has been the maturation of its IP Catalogue section, which moved in 2025 from simply showcasing intellectual property to functioning as an active marketplace for it. More than 1,600 IPs were uploaded to the expanded platform in its first full year, spanning feature films, television programmes, and animation. For 2026, the platform has added advanced filter options so buyers and partners can identify projects by production stage and by whether they are seeking buyers, investors, distributors, or other collaborators. The animation sector has become particularly important following the global explosion of interest in Chinese-language animation, led most dramatically by the Ne Zha franchise, whose second instalment became the highest-grossing animated film of all time with approximately $2.2 billion in worldwide box office. Filmart will host a dedicated panel exploring animation’s global growth opportunities, featuring representatives from Warner Bros. Discovery, France’s CNC, and leading Asian animation studios. For deeper context on the Asian film market, the HKTDC Filmart official site provides comprehensive exhibitor and programming information. The Screen Daily trade publication offers authoritative reporting on international film market developments. Variety’s Hong Kong coverage tracks the city’s film and entertainment industry across the year.
Hong Kong’s Irreplaceable Role
Beyond the programming and the deal flow, Filmart’s enduring value lies in a geographic and cultural reality that no other market can replicate. Hong Kong sits at the intersection of Chinese-language cinema and the international entertainment industry in a way that no mainland Chinese city can approximate. Its common law legal system, its tradition of contractual reliability, and its deep connections to both Hollywood and Asian studios make it the logical place for cross-border deals to be struck. That role is not without its tensions. The political transformation of Hong Kong since 2020 has raised questions among some international partners about the city’s continued neutrality and openness as a creative hub. The national security legislation and the suppression of the free press have cast a shadow over the city’s identity as a place of unrestricted expression. Creative industries, above all others, depend on the freedom to imagine, question, and dissent. Filmart’s organisers walk a careful line, promoting Hong Kong’s unique bridge function while navigating an environment that has become less free than the one in which the market was born.
Youth Culture and the Future
Among the most forward-looking elements of this year’s programme is a panel exploring youth engagement, fan culture, and the emotional economics of IP. Japanese oshikatsu culture — the practice of deeply committed fan support for specific performers or characters — and the broader healing economy are reshaping how young consumers in Asia and beyond spend their money and their attention. For content creators and brands able to tap these emotional drivers, the opportunities are enormous. Filmart is positioning itself as the place where those opportunities are identified, discussed, and turned into deals. Thirty years on, it remains the place where the future of Asian entertainment comes first.
Hoi Yan Tsang
Courts & Justice Affairs Journalist, Apple Daily UK
Contact: hoiyan.tsang@appledaily.uk
Hoi Yan Tsang is a courts and justice affairs journalist with professional experience reporting on judicial proceedings, civil rights cases, and legal accountability. She received formal journalism training at a leading Chinese journalism school, where she specialized in court reporting, legal documentation analysis, and media law, establishing a strong foundation for precise legal journalism.
Her reporting career includes work with Apple Daily and other liberal Chinese newspapers, covering trial developments, sentencing decisions, procedural justice, and the impact of legal rulings on civil society. Hoi Yan’s journalism is grounded in direct courtroom observation, verified court records, and expert legal commentary.
She has operated in newsroom environments where legal accuracy is essential, developing practical expertise in translating complex legal processes into accessible, fact-based reporting. Editors rely on her disciplined sourcing practices and careful use of legal terminology.
Hoi Yan’s authority is reinforced by sustained publication within established media institutions and adherence to editorial review and correction standards. At Apple Daily UK, she delivers trustworthy legal reporting rooted in firsthand experience, professional judgment, and respect for the judicial record.
