Chinese-Speaking Markets
HAF In Development 2026: Full Line-Up
Hong Kong International Film Festival Society has selected 17 In-Development projects for this year’s HAF.
Chinese-Speaking Markets
Hong Kong International Film Festival Society has selected 17 In-Development projects for this year’s HAF.
Chinese-Speaking Markets
Hong Kong and Macau’s box office continued their downwards slide in 2025, with ticket sales coming in at a combined $155m (HK$1.21bn), a decrease of 15% compared to the previous year, according to figures from Hong Kong Box Office. In 2024, Hong Kong’s total box office
Chinese-Speaking Markets
China’s box office increased by 22% to reach $7.4bn (RMB51.83bn) in 2025, compared to $5.8bn the previous year, according to figures from China Film Administration. Two animated titles topped the year-end top ten, raking in $2.8bn between them – Lunar New Year hit Ne Zha
Chinese-Speaking Markets
Zootopia 2 was the highest-grossing import at the China box office in 2025, grossing $627m (as of Feb 2, 2026) and ranking second in the year-end chart.
Chinese-Speaking Markets
Lucky Lu and Mother Bhumi were also multiple award winners, taking three prizes apiece, including acting honours for Chang Chen and Fan Bingbing.
Korea & Japan
This edition of Streamlined is a recap of activity at Tokyo International Film Festival, its accompanying contents market TIFFCOM and Taiwan Creative Content Fest, also touching on the international strategies of Japan and Taiwan, which are currently looking like two of the healthier film and TV economies in East Asia,
Korea & Japan
We need to talk about project markets, or at least reassess what is happening at these events, which undoubtedly have an important role to play, but perhaps are becoming too much of a good thing. Streamlined attempts to publish the line-ups of all the project and pitching events in
Korea & Japan
Busan International Film Festival (BIFF) wrapped last Friday, and we’re already nearly at the end of the next festival, China’s Pingyao International Film Festival, but I’ve finally had time to draw breath and share some thoughts from last week. I’ll follow up with Pingyao coverage in
Chinese-Speaking Markets
Shen Ko-shang’s Deep Quiet Room was awarded Best Film and Best Actor for Joseph Chang’s performance in the Fei Mu Awards of this year’s Pingyao International Film Festival (PYIFF, September 24-30). The President’s Cake, directed by Iraqi filmmaker Hasan Hadi, took best film in
Korea & Japan
Busan’s Special Jury Award went to 'Funky Freaky Freaks', directed by Korea’s Han Chang-lok.
Chinese-Speaking Markets
TCCF has selected 56 projects and 38 published works for its 2025 edition, scheduled to take place in Taipei November 4-7.
Chinese-Speaking Markets
China’s Pingyao International Film Festival (September 24-30) has selected 16 projects for this year’s Pingyao Project Promotion (PPP), including two projects from filmmakers in Shanxi province. This year’s PPP will also include a selection of 15 literary works, from short stories to full-length ficion, that
Korea & Japan
The festival was held for the second time this year to coincide with the Expo 2025 Osaka Kansai.
Chinese-Speaking Markets
Golden Horse Film Project Promotion has selected 12 works-in-progress and 38 in development projects for this year's features section.
Chinese-Speaking Markets
Golden Horse Film Project Promotion has selected 14 projects for the sixth edition of its Series section.
Chinese-Speaking Markets
The Way We Talk, from Hong Kong director Adam Wong, scooped the Audience Award at this year’s New York Asian Film Festival (NYAFF), while the Uncaged Award for Best Feature Film went to Family Matters from Taiwan’s Pan Ke-Yin. Starring Marco Ng, Neo Chau and Chung Suet
The second part of the Streamlined Guide to Asia Co-Production Funds looks at the oldest and newest schemes in the region - Japan’s International Co-production Subsidy, managed by the Agency for Cultural Affairs, and the Hong Kong-Europe-Asia Collaboration Scheme, managed by the Hong Kong Film Development
Streamlined Guides
Compared to a decade ago, Asian independent producers now have a much wider range of government-backed funds within the region to apply to, with several schemes aimed specifically at encouraging international co-productions. While these funds have transformed the independent production scene across Asia, resulting in many awards and