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Korea & Japan
PART FOUR: Who owns the production pipeline when the pipeline is software; what happens to the middle of an industry when the tools no longer need one, and whether Korean speed is still an advantage when the tools can simulate it. Editor's Note: This is the fourth installment
Korea & Japan
PART THREE: What a Korean producer keeps when a show is a hit, why the eight-episode season made the missing clause expensive, and what three deals taught the industry about the price of a Korean right. Editor's Note: This is the third installment in a series that
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Korea & Japan
PART TWO: Who is paid when a Korean drama succeeds, where that leaves the industry now, and what the next three installments will cover Editor's Note: This is the second installment in a series that looks at the Korean content industry – how it evolved, where it stands now
Korea & Japan
PART ONE: Where Korean drama's strengths came from; why the hits don't pay the people who make them, and what the next 18 months decide Editor's Note: This is the first installment in a series that looks at the Korean content industry – how it
Korea & Japan
In this third and final section of the Streamlined Guide to Japan’s Independent Producers we profile six more producers who represent a new generation in the sense that they’re working across borders, tapping into the international sales and festival circuit, and finding innovative methods of financing and distributing
Korea & Japan
In the second section of this three-part Streamlined Guide to Japan’s Independent Producers, we profile six producers we believe represent a new generation in the sense that they’re working across borders, tapping into the international sales and festival circuit, and finding innovative methods of financing and distributing
Korea & Japan
The first section of this three-part Streamlined Guide to Japan’s Independent Producers includes an overview of the country’s production landscape, from the perspective of the indie sector, along with some notes on that handful of hardy pioneers who have been working outside the studio system for years.
South Asia
Among the four major South Indian film industries, the Malayalam-language industry, based in the coastal state of Kerala, may not be the largest, but is often the most critically acclaimed. The state has long been known for its arthouse cinema, from auteurs such as Adoor Gopalakrishnan and the late
Southeast Asia
Thai films and series are currently enjoying a wave of international recognition, driven by dynamic mainstream and arthouse film production sectors, along with the global popularity of BL (Boys' Love) and GL (Girls' Love) series, which are raising the profile of Thai actors and actresses around the world.
Southeast Asia
One of Asia’s most vibrant content markets, Indonesia continued to see strong theatrical recovery in 2025 and early 2026, mostly driven by local features, along with a streaming sector that is growing in terms of both paid subscriptions and viewing hours. But it’s also a market that suffers
Southeast Asia
Philippine cinema had a strong start to 2026 with titles screening and winning awards at the three big winter international film festivals – Sundance, Rotterdam and Berlin. But back at home, the Philippines is among the Asian territories in which box office recovery has been slow since the pandemic, and while
Southeast Asia
Streamlined Guides launched its first edition in May 2024 with the two-part 'Streamlined Guide to Vietnam', as we recognised that this is one of the most dynamic markets in Southeast Asia, if not the world. This edition provides updates on the 2024 guide based on research conducted
Streamlined Guides
Part Two of this guide looks at how six international territories are regulating streamers: UK, Australia, New Zealand, Canada, South Africa & Brazil.
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Europe
This edition of the Streamlined Guides is an overview of the current status of levies and content investment obligations for streamers around the world. Which countries have implemented them and why? Which countries are still considering them, or have decided against them, and why? And what can the rest of
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
Streamlined Guides
Back in January, Streamlined Guides released an edition looking at imported movies at the China box office in 2024 and promised to follow up with a report on Chinese buyers. In the meantime, US president Donald Trump slapped huge tariffs on China, which reciprocated by saying it would “moderately reduce”
Streamlined Guides
With Filmart taking place this month, Streamlined is turning its attention to the Hong Kong film industry, looking at the current state of production financing and leading production companies, as well as the local box office and distribution of imported films. Once home to the most prolific film industry in