Thailand’s New Projects Market; Asia's Gen Z Rises Up; Korea Gets More Cash
I just got back from Bangkok where I attended the second edition of the Content Project Market (CPM), organised by Thailand’s Creative Economy Agency (CEA). The three-day event (September 10-12) followed CEA’s Content Lab 2025 during which 34 projects across film, series and animation received training on project development, business skills, market access and international collaboration.
During CPM, the projects took part in on-stage pitches in front of potential investors followed by two days of individual meetings. A further 20 projects were invited to participate through an open call. Most of Thailand’s major studios and streamers turned up for the pitches and meetings along with a smattering of international buyers (see more details in my Deadline story).
I’ll admit I went in with low expectations – it was only the second year of a government-organised event, and I was totally confused by the many different government entities involved in Thailand’s content industries. But I was pleasantly surprised – the event was well organised and the project teams were battle ready. The event venue, True Digital Park on the east side of Bangkok, is an interesting space that gave off both both creative and tech start-up vibes. Another building, Cloud 11, that will house creator studios and performance spaces is opening across the street, so perhaps Bangkok is gaining an edge as a host city for creative start-ups and conferences.
The only downside to the event is that many projects were at a very early stage of development – some were little more than an idea or a treatment. I understand the pent-up demand for emerging filmmakers to meet potential investors, and the event certainly did all it could to meet that demand, but buyers usually want to see projects that are a little more packaged.
As for the various government agencies involved in Thailand’s creative industries – I understand more now, but it’s complicated. CEA sits directly under the Office of the Prime Minister and supports around 15 different creative and cultural industries. It has been working closely with Thailand Creative Culture Agency (THACCA), which is still in the process of being established by the National Soft Power Strategy Committee, an initiative of the former Prime Minister, who was forced to resign a few months back (more on that below).
THACCA has already funded some Thai productions, including Cannes Critics Week award winner A Useful Ghost, and I’m told its budget has been secured for next year, but anything beyond that depends on the incoming administration, which has promised to hold elections early next year. Bangkok International Film Festival (September 27-October 15), a joint initiative of THACCA and Thailand’s Department of Cultural Promotion (DCP), has moved up from its original planned date in January 2026, most likely to ensure it’s not derailed by the change of administration and upcoming elections.
Despite the political drama, which is fairly standard just about anywhere these days, there’s a lot of energy in this market and an interesting mix of funding between private studios and streamers, various government agencies, the 30% production rebate and international players including Netflix and Korea’s CJ ENM. Along with the box office success of How To Make Millions Before Grandma Dies, Thailand is also building a global fanbase for BL content and produced several Netflix breakout hits including start-up series Mad Unicorn.
An upcoming ‘Streamlined Guide to Thailand’ will explore the market in greater depth. I’m also working on a ‘Streamlined Guide to Streaming Levies & Investment Obligations’ – which looks at how EU member states and other countries around the world are regulating streamers. Hopefully the research will provide some useful insights for Asian markets.
