ATF 2024 - Show Daily Day 1

INSIDE...

p.02

What’s Up Today…

Don’t miss great networking opportunities!

p.04

A Message From Our Group Director

Celebrating 25 years of bringing business to APAC

p.08—20

Leaders’ Dialogue

p.22—23

ATF

In-Development Club

Much needed career advancing lab for European & Asian projects

p.12, p.21

Specials

A noteworthy spotlight on:

• Mono Streaming Company Limited—For Good ROI, Look No Further Than Thai Productions

• NHK—Celebrating 100 Years of Broadcasting Through Japan’s Cultural Explosion

p.24—43

Features

Limelight on exhibitors on the market floor

p.44—47

Buyers @ ATF

What buyers want, and what advice they’d give to sellers

p.48—72

• Existing IPs 1 2 3 5 4 6 7 8

Products

• Pre-Sales

• New IPs

project management

group project director

YEOW HUI LENG

senior project manager

JOYCE CHUA

assistant account director

PHUA MEENYI

assistant relationship manager

SAMANTHA LEE

relationship coordinator

BRIDGET TONG

project executive

JOCELYN PHNG

conference

executive producer

LULU MENDOZA

assistant conference producer

LERIS LEONG

editorial

editorial director

LULU MENDOZA writers

MARCUS GOH

LIM JUN XI

MARK LEONG

DINESH PASRASURUM

KOON SI MINK

designer SHELLEN TEH

photography

ARTGRAPHY traffic

TEO HUI HIANG

SOH CHUAN TING

marketing

marketing director

TEO HUI HIANG

marketing manager

CANDY CHEAH

digital assistant manager

AYE MIN THU

digital executive

LIEW BI LIANG

operations

operations director

KAREN LEONG

operations manager

CHUA LAI SOON

assistant operations manager

KAREN LIEW

DAY1

Main Stage Showcases

KOCCA

A much-anticipated session that presents the best of K-Formats.

Discover the Charm of Daylight Entertainment

This exciting session offers an exclusive look into the powerhouse production house behind critically acclaimed dramas.

Drama Gems from Japan

This session will showcase a selection of thrilling new titles, highlighting each of their standout features, and explaining why they’re a must-watch.

iQIYI International 2025 GRAND REVEAL

What will be iQIYI International’s key focuses for 2025? Listen in on how iQIYI will take the game to a whole new level and spice up the industry.

The Rise of China’s Short-Video Industry

Explore international collaborations and potential partnerships with China, paving the way for an ecosystem that will shape global viewing behaviour.

WHEN REAL DATA MATTERS...

Ampere Analysis

A message from our Group Director... Comingtoyou

Europe Leads a New Anime Boom

by Motohiko Ara

2

The Power of Windowing Strategies in Maximizing Profitability and Exposure

by Anqi Liu

K7 Media

Asia Rises in the Scripted Format Realm by Trang Nguyen, Manager— APAC, Middle East and Africa

4

The Allure of Animation: Why 3—6-Year-Olds Are Captivated by Cartoons by Adam Woodgate, VP, Research Solutions

BB Media

APAC Streaming Spotlight: A powerhouse of content diversity and market growth by Laura Ghisiglieri, Business Development & Marketing Director

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Streaming to Remain Direct-To-Consumer for Foreseeable Future by Tony Gunnarsson, Senior Principal Analyst, TV, Video & Advertising

1

Opportunities for APAC TV Production in a Changing Global Commissioning Market by Cyrine Amor, Research Manager

Glance

Demand for Asian Content in European Markets: A Comparative SVOD Analysis by

Anqi Liu

3

Trending Asian Unscripted Formats: From Animal Kingdom to Class Warfare by Trang Nguyen, Manager APAC, Middle East and Africa

The Insights Family

Animation: Captivating the Young Adult Audience by Adam Woodgate, VP, Research Solutions

5

Entertainment in Motion: Understanding User Preferences in APAC’s Media Landscape by Laura Ghisiglieri, Business Development & Marketing Director

Dear Industry Friends,

ATF celebrates our 25th this year. This milestone edition takes place against the backdrop of a new order in the TV world, brought on by technological advancements, and the surging confidence of Asian content on the world stage, scenarios that we could only envision 25 years ago.

ATF had its beginnings at the turn of a millennia, in the year 2000. We started out as a hotel format event at Sentosa Island and had over 800 attendees from 32 countries and regions. To accommodate the expansion and curation of the market, we moved ATF across 5 venues over the course of 25 years, and attendance has grown by more than 7 times since. Today, ATF has evolved beyond a distribution market, it is also Asia’s voice for co-producing, financing, and celebrating best-in-class content.

This year, ATF brought deal makers from banks, investment companies and commissioners together to discuss content financing, such as how models in Europe and US could provide some form of reference for Asia. Co-production and collaboration possibilities for Asian creators and writers is being explored through the 6 pitches organised with key brands, including EST Studios, Mediacorp and Hunan TV. We are also hosting a record number of premieres and content showcases this time, where star-studded casts and creative talents will be making appearances in front of media and industry partners.

While we celebrate our silver jubilee and look forward to the future, the ATF team would like to thank our partners and friends for your support. See you at the party tonight!

Streaming is at Full Force Forwards, But Pay-TV Is Not Dead Yet by Tony Gunnarsson, Senior Principal Analyst, TV, Video & Advertising

Yeow Hui Leng Group Project Director, Asia TV Forum & Market

CONFERENCE

“#advertisingeverywhere is where we’re going in 2025,” noted Tony Gunnarsson, Principal Analyst, TV, Video & Advertising, Omdia at the opening keynote of ATF 2024.

He began his presentation with a recap of the 2025 sees the end of the streaming wars, even as advertising returns with vengeance #2025 #advertisingeverywhere

PAST FEW YEARS’ TV & VIDEO STRATEGY STARTING WITH 2019’S PLUNGE INTO D2C, FOLLOWED BY THE PANDEMIC SHOCK OF 2020-2022. THIS LED TO AN AWAKENING IN 2023 WHERE THE INDUSTRY REALISED THAT NOT WORK AS INTENDED

before the great stand-still of 2024 (although prices weren’t at a stand-still).

But there have been two major shifts in 2024, Tony observed. First, was the transformation of major SVOD players into hybrid AVOD/SVOD services. This is pertinent in the light of the media and entertainment industry topping 1 trillion USD in 2024, and being projected to reach 1.1 trillion in 2025.

Second was the advent of the first standalone streaming bundle in the US - the Disney+, Hulu, and Max bundle — which is indicative of a general move towards a consolidation and re-bundling of TV & video.

“I’m professionally predicting that we’ll see a lot of these bundles in 2025,” said Tony as he gazed into his crystal ball for 2025.

He foresees that 2025 will be the first year when streaming generates more revenue than pay-TV.

No new major streaming services are expected in 2025. With the streaming landscape complete, global streamers

Partnering local streamers will be the new go-to market strategy. Tony also predicted that 2025 would see the telco bundling of SVOD reach early maturity, even as major streamers position content and features into a new “Pay-TV 2.0” configuration. Yet while telco bundling is critical, a realistic assessment shows that the potential is limited.

I’M PROFESSIONALLY PREDICTING THAT WE’LL SEE A LOT OF THESE (STANDALONE STREAMING) BUNDLES IN 2025

Tony Gunnarsson | Principal Analyst, TV, Video & Advertising Omdia

5 years,” said Tony of the increasing proliferation of hybrid AVOD/SVOD services.

Consolidation, aggregation, and transformation. All this points towards one clear trend for 2025.

“The streaming wars are over,” declared Tony.

From Root to Fruit: Yuewen’s Ingenious IP Ecosystem

Forget scrounging for bits of content — Yuewen wants it all, from fledgling online novels to the goldmine of IP merchandising. According to Hou Xiaonan, CEO and President of Yuewen and Vice President of Tencent Platform and Content Group, Yuewen’s revolutionary business model starts from the dynamics of the online literature industry, where a hoard of new content is vetted by a vast army of readers for free. Compared to the traditional model of scouting for fully completed literature, said Xiaonan, this practice allows for a higher volume of quality content for TV and movie production — all handled inhouse by Yuewen, of course.

Yuewen ambitiously captures even more value down the line with its merchandising arm, Yuewen Goods, that handles the entire loop of merchandising from online ordering to order fulfillment. Asked about the viability of this IP ecosystem model overseas, Xiaonan banished all doubt as he proclaimed the

“Asian developed content has never been stronger than it is today,’ shared Bennett Pozil, Executive VP, East West Bank.

Bennett’s optimism was palpable at a session moderated by Matthew Alderson, Principal, Aldersons Legal & Consulting.

“The co-production phase between US and China is very loud and everyone is paying attention to it,” he observed. The motivation is clear, however. “It is about making money.”

He compared financing options in China, where pre-sales and foreign territories are not commonly available, to doing projects offshore from China.

“Usually with English language content, it’s pretty easy to package together and sell it to any of the worldwide markets,” Bennett said.

model to be fully realised in China and prime for adaptation in overseas markets.

In fact, he reckons that exporting content is easier these days with AI powered translation and localisation, which significantly lower the cost. Amidst their success, Xiaonan stressed the importance of keeping a continuous flow of quality content coming in by nurturing fledgling writers.

Xiaonan CEO and President, Yuewen VP, Tencent Platform and Content Group

Tax Credits — The Secret Sauce to Financing Projects

It’s all about mastering the hand that you have been dealt. “Whatever [financing] system it is, you have to learn how it works.”

As for practical advice, he had this to share. “Take advantage of tax credits. It helps bring you a long way.”

Regardless of the project, Bennett understands that it boils down to the vision.

“Where there is something you believe in, that you are passionate about - you are going to make it.”

Hou

Bennett Pozil, Executive VP, East West Bank (right), with moderator Matthew Alderson, Principal, Aldersons Legal & Consulting (left)

CONFERENCE

TVING Adroitly Navigates the Crowded Streaming Industry

In an industry saturated with fierce competition, TVING — the streaming platform of CJ ENM — exhaustively considers all its options with admirable prudence. Ryan Hong, Chief Strategy Officer at TVING, pointed out that TVING’s ongoing collaboration with competing platforms, is actually a practical one, since TVING and its parent company CJ ENM deal in both streaming, as well as production. One notable collaboration is their content exchange with Apple TV+, launching on December 10.

This collaborative approach is further evident in TVING’s pursuit of partnership with South Korea’s major telcos, with the ultimate aim of bundling their streaming service and propagating their reputation for quality content. Ryan also mentioned their consideration of Kocowa as a viable option for overseas expansion, pointing out Kocowa’s

Youku’s Path Forward is Inward and Backward

Video Streaming giant Youku has found its way forward in a twopronged strategy — going back to basics and introspectively developing its assets. Xie Ying, Vice President of Youku, shared that the global market for drama series is facing the challenge of audience attrition to short-form content that has infiltrated consumers’ fragmented time and displaced longform content. To keep up, Xie Ying underlined the necessity of parting ways with the stale strategy of following big data.

Instead, one must look towards producing content with new characters and aesthetics, and fresh angles that breathe new life into old stories – a return to basics. Renewing the lease on a tired industry involves

welcoming and nurturing new blood, exemplified by Youku’s numerous talent development programs which include incubating projects by new directors and offering them mentorship under famous directors like Zhang Yimou.

In the same spirit of embracing the new generation, Xie Ying stressed the importance of accepting and utilising AI in the industry to stay competitive. Besides raising the floor of production by increasing the efficiency of shooting and postproduction, AI would enable projects that were previously impossible without an immense budget and thus open the way for young directors with new ideas.

relative establishment in Western markets where TVING has yet to find a foothold.

External collaboration aside, TVING has done some internal review of their offerings as well. According to Ryan, Korean consumers have a fairly insular palate for media aside from high-profile Western blockbusters, resulting in TVING’s content library tending more towards this domestic audience. However, in anticipation of international expansion, TVING has been steadily shoring up this shortcoming by expanding their library to include more relatable and varied offerings.

Ryan Hong Chief Strategy Officer TVING

Xie Ying Vice President Youku

SPECIAL

FOR GOOD ROI, LOOK NO FURTHER THAN THAI PRODUCTIONS

Like local produce, local productions see greater appeal in Thailand

“Domestically, the ROI for original productions within Thailand is favourable,” said Sang Ho Lee, Vice President, International Content Acquisition, Sales & Business Development, Mono Streaming Company Limited.

Sang Ho observed that content that tapped into local tastes and cultural themes performed especially well in Thailand. In terms of demand, the hottest genres are: drama, action, horror, supernatural, and comedy. Action and horror, in particular, appeal to both local and regional audiences.

That’s good news for Thai production houses, because a substantial percentage of content consumed in Thailand is locally produced. However, the number of co-productions has also climbed, especially with Asian partners – driven by the need to tap into broader markets and shared cultures.

For MONO’s free-to-air channels, local shows make up the lion’s share of content, contributing to over 60% of their programmes. However, their SVOD platform sees less demand for local content, with under 30% of the demand being for local shows.

But can Thai content break into global markets? That depends on two key factors.

Firstly, the cultural appeal of Thai content is paramount.

Sang Ho summed up the three pillars of success as strategic partnerships, quality content, and effective distribution channels.

To leverage on industry trends and the evolving media landscape, MONO has adopted several strategies. They’re increasingly investing in original content as well as producing diverse genres for varying audience preferences. They are actively exploring co-productions while producing local content. And of course, their own streaming platform, MONOMAX, provides both local and international content

for Thai viewers.

“Local production remains strong,” said Sang Ho, but one must also adapt to “global influences and audience preferences.”

“THAI CULTURE AND STORIES HAVE GAINED INTERNATIONAL INTEREST, LEADING TO A RISE IN ORIGINAL CONTENT THAT RESONATES BOTH LOCALLY AND GLOBALLY,” SAID SANG HO.

Secondly, digital platforms have been a key driver in reaching viewers across the world. “The growth of streaming services has created new opportunities for Thai content to reach international audiences, which helps sustain production,” shared Sang Ho.

He cautioned that competition from other international content as well as changing audience preferences could impact the ROI of local productions. Nevertheless, Thai productions can yield higher returns, so long as they attract sufficient overseas interest in regional and global markets.

Sang Ho Lee Vice President International Content Acquisition Sales & Business Development Mono Streaming Company Limited

CONFERENCE

An Aspirational Omelette: M&E Financing Starts At Home

The difficulty of financing in the Asian M&E industry is a chicken and egg problem, said a panel of experts at ATF 2024. According to Francis Smith, Peabody Winner, showrunner and partner at IFA Media, the pre-existing difficulty of getting funding in Asia

means fewer projects get off the ground, resulting in a less prosperous market with poorer prospects for investors. Poorer prospects mean less investor confidence and thus less capital and infrastructure for production, feeding back into the funding difficulty.

Anwen Griffiths, Head of Legal and Business Affairs at BBC Film, then astutely pointed out that in the UK and European market, public funds are usually first in for the production war chest. Anwen indicated that Asian markets could adopt this approach, where filmmaking culture involves a strong public service element and receives relevant funding. Said funding doesn’t even have to be upfront – government bodies could offer tax credit on the production.

The public funds wouldn’t simply be a bandaid fix either — nurturing local talent would make the local production scene more robust and encourage private investors towards risktaking. Dan Read, CEO of Film Finances Australasia, raised bond services as a key piece towards getting private investors on the scene as well.

(L-R) Anwen Griffiths, Head of Legal & Business Affairs, BBC Film; Dan Read, CEO, Film Finances Australasia; Sophia Yen, Partner, Manatt, Phelps & Phillips, LLP; Francis Smith, Peabody Winner, Showrunner, Partner, IFA Media)

CONFERENCE

Crazy? Rich? Asian Content is Popular, too!

“Representation begins on the page,” said Michelle K. Sugihara, Executive Director & CEO, CAPE. That is why they sowed the seeds of the future with their CAPE New Writers Fellowship 13 years ago, with writers on over 70 Hollywood shows today.

She shared at a session about the disappearing borders between Asia and Hollywood, which was moderated by Sophia Yen, Partner, Manatt, Phelps & Phillips, LLP.

“Asian content is popular content,” agreed Jaeson Ma, Founder, EST Media Holdings, Inc. “Crazy Rich Asians is the biggest romcom in the last decade,” he said. Its success led to Bling Empire being picked up 6 months after the film debuted. The immense popularity of K-dramas and Japanese anime are also testament to that.

“Make it a triple win situation for everyone,” advised Donovan Chan, Founder, Beach House Pictures, when it comes to working with Hollywood. There are ways to employ the benefits in Asia and utilise the production system in the US.

If you have a good idea, pitch it, all panelists agreed.

“Shoot your shot,” encouraged Michelle, even as Jaeson concurred with “Bring your best projects.”

Donovan’s advice was to think about “why this project is important to you?”

The future is truly Asia.

(L-R) Donovan Chan, Co-Founder, Beach House Pictures; Michelle K. Sugihara, Executive Director & CEO, CAPE; Jaeson Ma, Chairman & Co-Founder, EST Media Holdings, Inc.; Sophia Yen, Partner, Manatt, Phelps & Phillips, LLP

CONFERENCE

“Streaming sites have played a very pivotal role in popularising anime,” observed Kendrick Wong, Founder, Kasagi Labo.

He shared that it has been challenging for the Japanese to market their anime IP, which is why this has been a critical factor in the astronomical success of anime.

Kendrick spoke at a session about unlocking the global IP potential of anime, moderated by Nader Sobhan, Founder & Executive Director, IKTOMI.

On the demand side, it turns out that the audience for anime may be broader than one expects. “The 40-65 year old range, older women, are getting into anime,” revealed Kendrick.

It’s More Than Money That Talks, When It Comes to Investing Anime

When it comes to supply, there’s a production crunch for anime to be produced. “The top anime studios have a three to four-year waiting period before they can produce any new anime, due to the existing demand,” said Kendrick.

“Historically, it has been very challenging for foreigners to invest in anime,” he shared. Like many Japanese industries, it is about social capital, more so than financial capital.

But there may soon be another option.

“China will overtake Japan in the anime industry in the next five years,” said Kendrick.

Could Mid-form Content Hold the Secret to a New Hallyu Wave?

“Our strategy is not to make long-form content, but what we call mid-form content - 20 to 30 minutes long.”

DJ Lee, Chief Content Officer, LG U+ shared this at a session moderated by Tony Gunnarsson, Principal Analyst, TV, Video & Advertising, Omdia

“Young people, they want a shorter duration for content,” explained DJ. Midform content makes for “fast and easy watching.” And that strategy has borne fruit. High Cookie and Night Has Come, their two recent mid-form series, rated among the top 2 shows watched during their release period.

There’s also a practical reason for creating mid-form content, revealed DJ, which was to reduce production costs and time.

What insights did DJ have to share about the watch habits of consumers?

“Young people don’t go to bed early,” he chuckled. Their data revealed that

consumers watch their content mostly between the hours of 11pm to 1am.

“Every day, we release a new episode at midnight,” shared DJ about their release schedules. “It’s a very different strategy from global streamers,” he explained, where the whole season is released at once to encourage binge-watching..

For LG U+, it’s ultimately about differentiation and creating habitual viewing.

DJ Lee Chief Content Officer LG U+

Kendrick Wong, Founder, Kasagi Labo (left), with moderator Nader Sobhan, Founder & Executive Director, IKTOMI (right)

CONFERENCE

Livestreaming – The Next Evolution of IMAX?

“There’s a real push for premium experiences,” said Vikram Arumilli about consumer demand in cinemas.

The Senior Vice President & GM, IMAX, shared his views about premium entertainment and global cinema at a session moderated by Michelle Lin, Associate Director - Operations, K7 Media.

“IMAX’s market share has skyrocketed post-COVID,” revealed Vikram.

For cinematic hits like Dune and Oppenheimer, IMAX viewings made up over 20% of box office takings, despite the fact that less than 1% of cinema screens have IMAX.

The demand for premium entertainment is also translating into homes. “If you look at the demand for high-end TVs and speakers, it lines up with what’s happening in theatres,” shared Vikram.

“We can stretch the IMAX experience from the set, to the screen, to the home.”

Now IMAX turns to new horizons.

“How do you deliver alternate content to the theatre?” asked Vikram.

IMAX has wired up 250 of their theatres to a high quality Internet connection to support the streaming of live events in theatres, such as the NBA finals in Hong Kong earlier this year.

For 2025, IMAX is looking to expand their streaming technologies to other partners globally, such as Asia.

No Resting On Laurels: Yu Zheng’s Focus on Technique and Talent

One of the most prolific Chinese screenwriters of his generation, Yu Zheng, Founder of Huanyu Entertainment, has built off the success of The Story of Yanxi Palace to score hit after hit — five critically

acclaimed drama series in seven years. Despite this, Yu Zheng’s eye remains firmly on the craft. “You shouldn’t set out with the goal of making a popular series year on year it’s not realistic,” he said in Mandarin, when asked about the secret behind his success. Instead, Yu Zheng stressed the importance of honing your craft and pursuing your passion of storytelling like he does.

While his foundation lies in long-form storytelling, when asked about microdrama or short series, Yu Zheng recognises a lot of potential. However, he expressed some hesitance in seriously pursuing the medium because he believes that diluting your focus would hurt the quality of your craft — he extended this view to his prospects for the film industry as well.

Yu Zheng also advised creators to not feel bound by genre or style. While his stories tend to be in the same genre, Yu Zheng stressed that they are simply a consequence of his love for the historical aesthetic and Chinese culture.

Vikram Arumilli Senior Vice President & GM IMAX

Yu Zheng Founder, Huanyu Entertainment

SPECIAL

CELEBRATING 100 YEARS OF BROADCASTING THROUGH JAPAN’S CULTURAL EXPLOSION

At this year’s ATF, NHK (Japan Broadcasting Corp.) is set to unveil its most ambitious lineup of programs yet as part of the public broadcaster’s plan to celebrate the centennial of Japan’s broadcast. Headlining the showcase is Unbound, the latest installment in NHK's renowned historical drama slot known as Taiga, premiering in January 2025.

A Legacy of Historical Epics

A cultural touchstone of Japan, Taiga dramas have continued to captivate millions of viewers every year since 1963. Each year, a saga of a historical figure is explored through 50 episodes, covering everything from epic samurai battles to Japan’s era of rapid modernization.

Taiga dramas have featured some of Japan’s most celebrated actors, including Ken Watanabe, Hiroyuki Sanada and Toshiro Mifune. The series has garnered a reputation for meticulous historical accuracy, breathtaking visuals, and cutting-edge special effects.

Bridging Past and Present

Unbound continues this tradition with a storyline set in the cultural renaissance of late 18th-century Edo, today known as Tokyo. It follows the life of Tsutaya Juzaburo, or Tsutaju for short, a visionary publisher who discovered the talents of Utamaro, Sharaku and Hokusai. His publications played a pivotal role in shaping the Japonism movement―a phenomenon that later influenced European artists like van Gogh and Monet.

The drama highlights not only the golden age of Japanese culture during the Edo period (1603-1868), but also its lasting global influence.

By delving into the world of Tsutaju, the series reveals how the art movement he helped flourish laid the foundation for contemporary anime, manga and other works of Japanese pop culture. Featuring Academy Award winner Ken Watanabe alongside leading actor Yokohama Ryusei, Unbound offers deep insight into Japan’s rich artistic history and its enduring impact on the world’s entertainment scene.

Neo-Japonism: A Modern Cultural Phenomenon Complementing Unbound in celebrating the centennial is Neo-Japonism, a documentary series currently under development that will take a comprehensive look at the current global impact of Japanese culture. Exploring everything from traditional crafts and cuisines to modern design and pop culture, this series reveals how Japan continues to merge tradition and innovation to shape international trends in the 21st century.

NHK has no plans to hold back in its exploration of Japanese culture. In the works is a science fiction program on space research, hard-hitting documentaries covering global issues, and a remastered version of the classic animated story of Marco Polo’s adventures. As NHK enters Japan’s second century of broadcasting, it remains committed to delivering high-quality content that resonates with audiences around the world.

Visit NHK affiliate NEP’s B12-11 booth at the Japan Pavilion to witness the creativity and innovation behind the public broadcaster’s productions. Discover how Japanese storytelling and cultural insight can further enhance your content portfolio and captivate your audience.

IN-DEVELOPMENT

ATF X TTB ANIMATION LAB 2024

Enthusiasm and passion was in the air as creators, producers, distributors and experts from Europe and Asia came together to connect experiences and bring adult animation to life. A series of talks and presentations commenced after an encouraging opening by Alessandro Gropplero, Director of FVG Audiovisual Fund, Ties That Bind; Juraj Krasnohorsky, CEO and producer, Artichoke, and head of studies for CEE Animation Workshop; and Alessandra Pastore, manager, ATFxTTB.

The Secret Ingredients for Successful Cross-cultural Co-productions

“Find the right partner for a long term collaboration,” said Elvis Chew, Studio Director, Anima Vitae Point Sdn Bhd.

He emphasised the importance of spending more time in aligning vision and goals when selecting the right partner when it comes to joint ventures. Other considerations include the partner’s expertise, financial stability, reputation, market access and compatibility.

For cross culture collaboration, Elvis shared that it requires adaptability and trust. Another critical ingredient is a shared commitment to blending strengths, combining diverse ideas and perspectives to foster creativity, innovation, and mutual success.

Elvis further believed that on top of staying curious about “the way we talk, the way we think, the things we see”, a producer has to consider different points-of-view for content suitability.

Constant Work and Making Connections are the Keys to Successful Animated Films

His insights about market and network access spurred deeper conversations about other markets aside from Malaysia and Indonesia, such as Finland and Japan.

The session ended on an inspirational note to encourage cross-cultural co-productions for long-term partnerships.

Animated films are as good as live-action movies, said Simon Crowe, CEO, Partner, SC Films International. But what is the formula for producing them for the global market? To Simon, this involves constant work and travelling. “There are always opportunities,” he remarked, and that they are available for those who stay ahead in the game.

“Every film is financially difficult,” said Simon, “there is no formula for success.” With fewer buyers doing pre-sales today, he recommended engaging sales companies.

At present, Simon observed that the only way for independent producers to make a film is co-production. “Working on an animation is like a marriage” he noted, so creators and producers need to be familiar with the background and expertise of their team and partners, as well as stay honest to the strengths and limitations of their own productions.

He shared the international success story of Monkey King: The Hero, which has fared well across multiple territories.

IN-DEVELOPMENT

Finding the Perfect Fit in a Shifting Cinematic Landscape

“Anime is becoming popular,” said Rodney Uhler, Director of Acquisitions and Development, GKIDS. “That’s where the audiences have gone to, compelled by the sensibility of a story.”

“GKIDS wants to bring family films from around the world into the theatres for the adult audience,” added Rodney, “and we gravitate towards 2D animations and international cinema.” This is not a hard and fast rule — distributors must still be open minded about how people watch movies and adapt to that.

Rodney shared a valuable benefit of being a “full service distributor” — data about the changing landscape, which helps “keep the budget tight but malleable”.

Theatrical releases are a huge important part of telling a film’s story. Exclusive merchandise, such as collector’s edition releases of films, also remains a large part of a distributor’s work and cannot be written off. Rodney said, “For some films, collector’s editions are important. There are people who want to know the whole story behind the film — from commentaries to bonus features.”

Major streaming platforms provide rich data about consumers but their systems may not work for some films. So Rodney observed the importance of knowing whether a film is a good fit, to reach the right audiences.

Want Your Characters to Travel? Focus on Audiences and Content

“How do you design characters that can travel?” That was the question posed by Carlene Tan, Senior Director, Kids and Animated Originals, Warner Bros. Discovery APAC, who revealed that it was about audiences and content.

She broke down the demographics of its target audience by age group - grandparents, parents, teens, and children.

On the content side, Carlene shared the studio’s two pillar approach.

The first: working with the regional original creators for character development. This involves experimentation

with the style of animation, and a process of including details representative of the region, as well as making the characters sit well with the universal themes.

She presented Lamput, a comedic non-dialogue chase animation created and produced in India for Cartoon Network Asia Pacific, as an example and highlighted its Asian influence.

The second pillar involves making the studio’s heritage brands relevant to all age groups and Carlene presented Tom and Jerry to explain how character design and storytelling help ensure the animation can travel across regions.

FEATURE

HIGH QUALITY PREMIUM FACTUAL CONTENT IN DEMAND

Global appetite for high quality premium content remains robust, according to Amreet Chahal, Director of Content Sales, Asia, at A+E Media Group. “Again in 2024, we saw that our clients want high quality content. Thankfully, we fit that bill pretty well!” she said.

THE COMPANY’S SLATE OF HIGH QUALITY PREMIUM FACTUAL SHOWS, MANY OF WHICH ARE ANCHORED BY INTERNATIONALLY KNOWN TALENT, ARE A “MASSIVE DRAW” FOR AUDIENCES AND BUYERS ALIKE.

Amreet shared that premium documentaries are favoured in the Asian markets. “We have a very strong branding in premium documentaries that resonates with people thanks to the strong reputation of our U.S. domestic brands, including The History

SUCCESS IS NOT FREE: BLENDING GENRES AND TAKING RISKS

Salt and pepper are perfectly adequate spices, but KT Studiogenie believes that the world clamours for more – in their media consumption, at any rate. A representative of the company shared the company’s strategy: genre selection is key to driving sales, and while romance, fantasy, human drama, and thrillers are consistently popular in the Asian market,

WORKS THAT HARMONISE BASIC GENRES ELEVATE THE CRAFT AND REMAIN A FOCUS FOR THE STUDIO’S ENDEAVOUR FOR EXTRAORDINARY SUCCESS.

Currently, just 60-70% of KT Studiogenie’s productions are based on popular genres, but the studio is committed to innovation. The aim, said the representative, is to balance stability and creative risk, developing new ideas that expand their appeal across diverse

markets. Upcoming projects include romantic comedies like Divorce Insurance and Dr. Cast Away, alongside ambitious ventures into action fantasy with titles like Lord of Money

Among their upcoming offerings, Mother and Mom, set to premiere on GenieTV in February 2025, was highlighted as a standout production. The human drama explores the complex relationships between three generations of women, portraying universal themes of family, growth, and love. Directed by Kim Chul-gyu, known for acclaimed works like Flower of Evil and Celebrity, the series features a strong cast including Jeon Hye-jin and Jung Jin-young.

Since 2021, KT Studiogenie has produced hits like Extraordinary Attorney Woo and continues to collaborate with major OTT platforms to expand its international reach. Future projects include a mix of romance, thrillers, and science fiction, aiming to meet the evolving tastes of global audiences while maintaining the highquality storytelling that defines their brand.

Channel, and the A-list talent that attach themselves to our projects,” she explained. Standouts from their catalogue include the returning mega-franchises such as Case Files and Pawn Stars to brand new, globally known celebrity-led projects like Kevin Costner’s The West, The UnBelievable with Dan Aykroyd, and Mysteries Unearthed with Danny Trejo

The company is also investing in regional premium productions. “Our Korea team is turning out amazing premium factual and scripted content; our Japan team is a regional leader in premium factual as well,” said Amreet. A recent highlight is the Korean fantasy romance series, A Good Day To Be A Dog, which features leading Korean talent, and premiered worldwide day and date in the US, Europe, Asia, and Korea. Another Korean drama series The Witch, for which A+E have invested in global distribution rights, has already been successfully pre-sold to all territories.

Looking ahead, the company plans to expand its footprint in the format space by leveraging its IP to locally adapt shows for the regional market.

Amreet Chahal Director of Content Sales (Asia) A+E Media Group

FEATURE

MELODIE FLIPS THE SCRIPT ON MUSIC LICENSING COSTS

“1 + 1 = 3,” said Evan Buist, Founder and Managing Director at Melodie, Australia, stymying mathematicians but delighting TV producers. Evan’s claim is one built on the back of Melodie’s latest ‘Royalty Partnership’ business model that

TURNS MUSIC LICENSING COSTS FOR PRODUCTION COMPANIES INTO A REVENUE STREAM IN THE FORM OF ROYALTY SHARING.

The best part? Production companies won’t have to lift a finger. “Melodie handles all the administration - from tracking to global royalty collectionproviding partners with a share of the royalty revenue each year,” Evan elaborated, pointing out that Melodie takes on all the hassle of complex registrations and royalty tracking.

Production companies in Europe won’t have to fear missing out on the deal, since Melodie has broken ground in the European market with Melodie’s first European office in France – fresh off the boost from a significant investment by Future Now Capital earlier in 2024.

At ATF 2024, Melodie hopes to hook others on its ‘Royalty Partnership’ model as well as showcase their tech-driven solutions, including a new Cue Sheet Tool highlighted by Evan as a massive time saver in the production editing process. The company is one to watch for cutting-edge music licensing solutions, with a high level of recognition in the form of NAB Show’s ‘Product of the Year 2024’ award and Acquisition International’s ‘Music Platform of the Year 2024 (APAC)’ award.

CREATING ORIGINALS FROM A TO ZEE

Manjyot Sandhu, EVP and Head of Global Syndication at ZEE Entertainment, is leading the company’s charge into the global original production and format sales arena. Over the past year, India-based ZEE International has strategically aligned with the growing demand for original productions, expanding its reach with more than 15 co-productions in the Middle East and Africa. Manjyot shared that ZEE recently completed filming the first adaptation of an Indian format in Latin America and is actively exploring co-production opportunities in Asia to strengthen its original production footprint.

For ATF 2024, Manjyot highlighted ZEE’s robust slate of offerings aimed at an international audience, including new drama series, digital shows, and an extensive library of films. With a core focus on expanding its format sales, ZEE is capitalising on the global appetite for unique storytelling and culturally resonant content. “Our stories are travelling the world,” Manjyot noted, underscoring the company’s success in capturing diverse markets through adaptable and engaging formats.

REFLECTING ON 2024, MANJYOT OBSERVED A SHIFT TOWARDS DIGITAL CONTENT AND ORIGINAL PRODUCTIONS, TRENDS ZEE IS ADAPTING TO THROUGH ENHANCED DISTRIBUTION AND PRODUCTION CAPABILITIES.

With a growing emphasis on formats and global co-productions, ZEE is positioning itself as a prominent player in the international content landscape.

An exciting addition to ZEE’s portfolio is its first Spanish-language telenovela, ValentinaMy Special Love, set in Guadalajara, Mexico. The series, debuting at ATF, interweaves themes of love, ambition, and personal challenges while sensitively portraying the experiences of individuals on the autism spectrum.

Evan Buist Founder and Managing Director Melodie

Manjyot Sandhu EVP – Head of Global Syndication ZEE Entertainment

FEATURE

James Ross, CEO of Lightning International (Media) Ltd, reports that the global content market remains resilient in 2024, driven by strong demand for innovative delivery models. According to James, interest in FAST and AVOD services is expanding worldwide. While originally led by the US, these models are now widely adopted in Europe and gaining traction across the Asia-Pacific region. Lightning International has over 15 FAST channels and thousands of AVOD titles, and the company is engaging in active discussions with Asian partners to explore new collaboration opportunities.

At ATF 2024, James sees high value in the networking opportunities, allowing Asia-based Lightning International to strengthen ties with existing Asian partners and meet potential new collaborators.

“THE NETWORKING AND TRADITIONAL MARKET SPACE ARE BOTH ESSENTIAL,” HE NOTES,

MAKING DEALS AS FAST AS LIGHTNING PUSHING THE FRONTIERS OF CONTENT CREATION WITH AI

emphasising the importance of meaningful connections in building the company’s presence in Asia. Such connections can be a big part of their content’s success, which James says can be evaluated from the perceived interest during partner meetings and the number of completed deals after ATF.

Lightning International’s portfolio this year includes a broad array of genres, from travel and music to documentaries, and the new drama series Phoenix – No Memory. No Name A Secret They’ll Kill Her For. Their library also features a deep catalogue of classic Hollywood films, formats, and live awards shows—genres that remain highly sought after by partners.

Lightning International will also be launching a live subtitling service across its live linear channels, offering subtitling in multiple Asian and European languages to enhance accessibility and engagement.

Over the past year, the capability and impact of artificial intelligence (AI) has been a global hot topic. The availability of generative AI - the type that can produce text, images and videohas also proven to be an attractive proposition for companies such as MooAm Entertainment, who have integrated the technology into its content creation.

At the core of this innovation is MooAm Entertainment’s new platform, Dophink, which utilises big data to uncover IPs in Asia. “Our business model has evolved to focus on IP curation and development, leveraging technology to uncover unique content opportunities,” said Harry Hyun, CEO and Director of MooAm Entertainment. He explained that this strategic move has enabled the creation of multifaceted content, enriching both the narrative and audience engagement while giving the company a competitive edge.

A project born from the use of generative AI is the reinterpretation of Korean folktale for a drama series. “We find great joy in reimagining these traditional stories through AI, bringing them to life in new and exciting ways,” said Harry. “Success is about these

types of innovative spin-offs that broaden the reach and impact of our content.”

Beyond AI, MooAm is also exploring new ways to expand IPs into broader experiences. For instance, while filming a documentary with the Odesa Philharmonic in Ukraine, the company also developed a concert experience. This move reflects the growing demand for distinctive content, as Harry noted. He emphasised that

COMPANIES NEED TO CONTINUALLY REINVENT THEMSELVES IN A COMPETITIVE MARKETPLACE, COMBINING ADVANCED TECHNOLOGY WITH CREATIVE VISION TO NOT ONLY DISCOVER UNIQUE IPS BUT ALSO PUSH THE BOUNDARIES OF WHAT CONTENT CAN BE.

Harry Hyun CEO and Director

MooAm Entertainment

James Ross CEO Lightning International (Media) Ltd

FEATURE

AIN’T NOBODY GOT TIME FOR FULL LENGTH VARIETY SHOWS

“In this age of fragmentation, collaborating closely with social media and short-form platforms to boost visibility and spark discussions has never been more important.”

Lester Hu, Director of R&D Center, Hunan TV shared this insight when commenting on the unscripted landscape in China in the past three years. “Overall, the market has become more cautious compared to previous years,” he shared, also noting that the economic slowdown has only exacerbated the situation.

Fortunately, variety shows are still popular in the entertainment industry. “But the rise of short form video and interactive elements is changing how they’re distributed and consumed,” commented Lester.

Younger viewers prefer quick and engaging content, so, full-length variety shows need restructuring and repackaging into a more short-form-friendly format to appeal to that demographic.

“TALK SHOWS AND COMEDY SHOWS HAVE A DISTINCT ADVANTAGE IN ATTRACTING NEW VIEWERS AND SUBSCRIPTIONS,” REVEALED LESTER, “SINCE CLIPS FROM THESE SHOWS CAN EASILY GO VIRAL ON PLATFORMS LIKE TIKTOK.”

In light of changing audience tastes, Hunan TV changed the format for Singer—previously a pre-recorded music show—to a live singing competition. “This introduced a new level of immediacy and excitement, allowing for realtime audience interaction and voting,” Lester explained, crediting the show’s increased success to the format change.

What other factors contribute to audience appeal? “Shows that resonate with real-life experiences and social emotions tend to better connect with our viewers,” said Lester, regardless of whether the variety shows are local or international. “Localisation is essential for any international format to succeed in a specific market.”

He also observed that for Chinese audiences, there has been a growing appetite for cross-cultural storytelling—especially when international celebrities are involved. The 2024 seasons of Singer, idol group reality show

Sisters Who Make Waves, celebrity reality show The Chinese Restaurant, and sibling travel reality show Divas Hit the Road were all examples of this trend.

Looking ahead, Hunan TV’s strategy will focus on the continuous production of their flagship IPs, shared Lester. “We have a number of established programme IPs that consistently deliver strong results year and after,” he said. The Hunan Broadcasting System will also increase their investment in shortform video apps like Fengmang and Shanhai, to cater to evolving audience tastes—especially modern audiences who prefer bite-sized entertainment.

Lester Hu Director of R&D Center Hunan TV

FEATURE

READY-TO-GO PROJECTS ESSENTIAL FOR TODAY’S BUYERS

In a market where the landscape has grown increasingly competitive, Escapade Media is standing firm with a strategy rooted in high-quality, distinctive content. Sarah Kwek, Consultant for Development and Completed Content: South East Asia & India at Escapade, believes

THE KEY TO SUCCESS LIES IN PRESENTING PREMIUM, MUST-HAVE PROJECTS THAT OFFER SOMETHING DIFFERENT, YET STILL COMMERCIAL.

THE THREE-TAILED FOX JUMPS OVER THE LAZY DOG

This year, FOX Entertainment looks to leapfrog the competition with its latest restructuring into three agile key divisions –FOX Entertainment Studios, FOX Television Network, and FOX Entertainment Global.

Jody Cipriano, Vice President of Content Sales for APAC at FOX Entertainment Global shared that the new three-pillar structure would “better organise our [FOX’s] creative output, overall operations and ability to effectively capture opportunity in today’s dynamic media environment.” Fox Entertainment Global, Jody’s division, will serve as FOX’s worldwide sales and distribution unit.

Off the back of this restructuring,

FOX ENTERTAINMENT IS STRIKING OUT WITH A STRATEGY THAT LEANS HEAVILY ON ITS RICH LEGACY WITHOUT RESTING ON ITS LAURELS.

“Every year, we grow our library with more and more premium content that travels,” shared Jody, pointing out FOX Entertainment’s focus

“The market has become more challenging as the number of players have decreased and budgets have shrunk. It’s not just about creating quality content – it’s about packaging it perfectly,” she said. Projects that are fully packaged with finance, cast, and creative teams locked in from the start, as well as at price points that clients in the region can work with, have a better chance of standing out.

Escapade’s approach is to offer clients something with a real point of difference. Sarah emphasised that this is what sets Escapade’s content apart from what buyers are already seeing in their pipeline.

“We aim to provide premium content across all genres, but with a real point of difference,” she said, underscoring that the company’s strength lies in offering unique, distinctive projects that still maintain broad appeal.

on expansion and diversity with the debut of their new independent production label, Tideline at the Sundance Film Festival 2024.

According to Jody, Tideline is “focused on differentiated storytelling from unique perspectives with the goal of inspiring conversations that matter and build a

deeper understanding of the world around us,” and will contribute to FOX Entertainment’s rapidly expanding catalog.

The recency of its restructuring also means that this will be FOX Entertainment Global’s first time at ATF. Asked about the novelty of this development, Jody expressed their excitement at now being able to hear directly from buyers about their needs and better catering to what each buyer’s market demands.

Jody Cipriano VP of Content Sales (APAC) FOX Entertainment Global

Sarah Kwek Consultant, Development and Completed Content, South East Asia & India Escapade Media Pty Ltd

FEATURE

STORYTELLING POWERED BY AI

The integration of artificial intelligence into the creative process is transforming the landscape of content development. One company at the forefront of this shift is Joy Company, leveraging its AI-powered platform, Story Weaver.

According to In-young Choi, CEO of Joy Company,

THE INNOVATIVE APPROACH OFFERS THE VERSATILITY TO CREATE ORIGINAL NARRATIVES THAT STAND OUT WHILE MAINTAINING ARTISTIC INTEGRITY.

“With our AI capabilities, we have the flexibility to efficiently create content across a wide range of genres without compromising on quality,” said In-young.

The company, whose strength lies in Korean drama and thriller formats, aims to expand its genre offerings through this cutting-edge endeavour. By using its Story Weaver’s application programming interface, the company is able to churn out various background narrative scenarios when collaborating with writers and filmmakers.

However, technology is just one part of the equation, In-young clarified, with genre trends and shifting audience preferences playing a crucial role. “Genre plays a significant role in determining the success of content sales. It provides a framework for targeting the right audience, making it easier to market and distribute,” she explained.

Looking ahead, In-young is excited for the technological renaissance of content creation and its possibilities. “Our future lies in the continuous innovation of content creation through AI technology. Buyers can look forward to the expanded capabilities of Story Weaver, which will offer even more tailored content across diverse genres,” she added.

FILIPINO ATF REGULARS STEP UP TO THE BIG LEAGUES

From visitor to adept veteran, Lino S. Cayetano, producer and director at Philippines-based Rein Entertainment Productions, looked back on his growth over the past five years at ATF. He attributed much of this growth to the IP Accelerator pitch at ATF 2022 and lauded it as a key opportunity that built connections with co-production partners and helped realise Elevator, a feature film that rose to a top spot on Netflix on release. He also shared the importance of forums like ATF that have “opened our eyes to new possibilities in sales and distribution, pushing us to create and own more of our intellectual property.”

Lino’s pride and passion as a Filipino filmmaker was also evident in his description of Rein Entertainment’s strategy at ATF 2024,

WHICH INCLUDED THE CORE TENET OF BALANCING THE PASSION OF STORYTELLING WITH THE STORY’S MARKET POTENTIAL.

“This approach allows us to stay true to our creative vision while tapping into opportunities for international co-productions and distribution, helping our content reach and resonate with diverse global audiences.”

In line with this belief, Reid Entertainment’s lineup at ATF 2024 is simultaneously homegrown while being adaptable for global markets.

Leading the charge is their premium series Drug War: A Conspiracy of Silence, an action and crime series that Lino will present at ATF 2024, on the 5th of December at 3pm. The original series Bagman will also be getting a spin-off, titled The Bagman, aimed at reaching a global audience.

In-young Choi CEO Joy Company

Lino S. Cayetano Producer/Director

Entertainment Productions

FEATURE

FACE-TO-FACE MEETINGS STILL CRITICAL FOR SUCCESS

Nolan Pielak, SVP of International Distribution at Electric Entertainment, described 2024 as a pivotal year of new partnerships for the US-based production company. This year saw The Librarians: The Next Chapter, a spinoff of US-based Electric’s popular franchise, move from CW to TNT, marking a return to its original network. Meanwhile, Leverage: Redemption, a steady hit on Amazon’s Freevee platform, was promoted to a Prime Original, with a third season greenlit—a testament to its popularity and Electric’s fruitful collaboration with Prime.

NOLAN NOTED THE VALUE OF ATF IN PROVIDING OPPORTUNITIES TO CONNECT FACE-TO-FACE WITH ASIAN CLIENTS, ESPECIALLY AS SOME NO LONGER ATTEND SUCH TRADITIONAL EVENTS IN EUROPE AND THE US.

These personal interactions, he notes, are critical to Electric Entertainment’s success in the region.

Electric’s offerings at ATF will highlight ‘blue sky’ content—escapist, easy-to-watch series that resonate with a broad audience. Nolan explained that, while most of their shows are episodic, even a serialised sci-fi title like The Ark balances seriousness with levity, enhancing its appeal.

When selecting content for their library, Nolan emphasised the importance of brand consistency, particularly in genres like action, thriller, and sci-fi. Electric aims to deliver content buyers can expect to align with its brand, a strategy that fosters trust and ensures repeat business.

Looking ahead, Nolan hinted at potential announcements for 2025, including release dates for The Librarians: The Next Chapter on TNT and Leverage: Redemption Season 3 on Prime.

GENRE: THE GREAT FILTER

Genre is a strategically important point in content sales, according to Shreyans Hirawat, Company Director of NH Studioz, particularly since the rise of OTT platforms.

HE NOTED THAT GENRE NOW ACTS AS A KEY FILTER FOR AUDIENCES WITH REFINED PREFERENCES, DIRECTLY INFLUENCING CONTENT CHOICES AND DRIVING SUCCESSFUL MARKETING AND SALES EFFORTS.

For India-based NH Studioz, catering to diverse genre demands is essential, and the company’s acquisitions span over four decades, encompassing a broad spectrum of Indian cinema.

At ATF 2024, Shreyans will be presenting a rich selection from NH Studioz’s extensive library, which includes over 2,500 titles. Their collection ranges from timeless classics to contemporary hits, demonstrating NH Studioz’s commitment to meeting the evolving tastes of global audiences. While the company’s own productions often reflect trending genres like youth-oriented, large-scale productions, they also strive to innovate, offering unique content that breaks away from industry norms when possible.

Shreyans shared that buyers can always rely on NH Studioz’s catalogue for top-tier, curated Indian entertainment. Whether through traditional licensing models or the company’s new Linear

FAST channel offerings, NH Studioz aims to deliver high-quality content tailored to changing viewing habits.

In a significant move to expand their global footprint, NH Studioz has recently launched three FAST channels, designed to connect with fans of their extensive catalogue. These channels showcase a diverse array of content, enhancing NH Studioz’s accessibility and solidifying its position as a premier source for Indian cinema worldwide.

Nolan Pielak SVP International Distribution, Electric Entertainment

Shreyans Hirawat Company Director NH Studioz

FEATURE

EYES, EARS, AND ENGAGEMENT: FROM FEEDBACK TO FRONTLINE

Adapting to shifting viewer preferences has become essential in today’s entertainment landscape, where engagement and brandbuilding go hand-in-hand. “Keeping audiences engaged is one thing, but closely monitoring how they are engaging with content across all platforms, including socials, is key to building brands” said Augustus Dulgaro, Executive Vice President of Sales for Asia Pacific at ITV Studios. The “ecosystem of engagement,” as he described it, is what enables companies to stand out in the crowded market, where connecting with audiences on multiple fronts is critical.

Across Asia, successful entertainment titles often rely on established brand-safe formats that resonate with broad audiences, such as Hell’s Kitchen or Love Island

TRENDS SHOW THAT AUDIENCES ARE INCREASINGLY DRAWN TO “NOISY BUT BRAND-SAFE” CONTENT THAT CAN EASILY ADAPT ACROSS CULTURES.

An example is The Voice that is renewed for a 10th season and will welcome its very first LGBTQ+ spin-off, The Voice Pride, which airs in the landmark year where Thailand’s new law for same sex marriage comes into effect.

Augustus also pointed to the industry’s growing reliance on responsive selling and content customisation, as audiences increasingly dictate the formats they want to see. The company has seen an increasing demand for Advertiser Funded Programming, which has led to a renewed focus on sponsorship-friendly IP that can be adapted locally, such as Cooking with the Stars and Master Cleaners “Key…is the ability to listen – to hear from our clients what they need, what’s working in their markets, and where their audiences are tuning in or clicking through,” he said.

The company’s new formats such as a celebrity game show, Parents’ Evening, to a Cluedo-like guessing game, A Party to Die Forboth are being presented at ATF, as well as indevelopment titles such as The Game in India and Golddigger in South Korea, reflect IP from ITV’s large new slate that will specifically suit the diverse tastes of the Asia region.

CRASH ON THE ROAD TO SUCCESS

“WHILE THE GLOBAL ECONOMY HAS POSED SOME OBSTACLES, WE’VE TAKEN THIS AS AN OPPORTUNITY TO INNOVATE AND EXPAND BEYOND OUR CORE STRENGTHS,”

shared Jeff Kim, Global Business Team Lead at ASTORY Co., Ltd. The South Korea-based production company has certainly walked the talk with their forays into production with generative AI and their expansion into new genres.

“From visualizing scripts through AI-generated images and video clips during development to rejuvenating our library titles by turning them into cartoons, these innovations have opened new avenues for us,” said Jeff on ASTORY’s ability to expand laterally amidst adverse economic conditions. He also pointed out the company’s increased range of potential

offerings with their recent interest in previously unexplored romance, comedy, historical, and procedural projects.

Jeff was especially forward about the procedural genre and shared that ASTORY’s biggest offering at ATF 2024 will be CRASH, a procedural series that covers traffic crime investigation. He believes that CRASH is an especially valuable offering because of its near-universal relatability in covering intriguing investigations into road accidents, vehicular fraud, and insurance scams. “The beauty of Crash is that the crimes can be localized to fit audience-familiar cases, which increases its flexibility for international remakes.” Jeff shared that ASTORY’s strategy with this offering also includes plans to brand it as T.C.I. for localised remakes.

Asked about ASTORY’s strategy at ATF 2024, Jeff said that the forum “presents a perfect platform to expand our strategic partnerships” and “explore further opportunities in distribution, co-production, format sales, and IP derivative business.”

Jeff Kim Global Business Team Lead ASTORY Co., Ltd.

Augustus Dulgaro Executive VP of Sales (APAC) ITV Studios

SPARKING CONVERSATIONS AND LEADING CHANGE

Driven by Bollywood’s appeal and the popularity of regional Indian productions, 2024 saw a significant rise in demand for Indian content globally, according to Sheetal Mehra, Senior Vice President Syndication and Business Head MEA at IndiaCast Media Distribution. Sheetal highlighted

INDIACAST’S PERFECT POSITIONING TO CAPITALISE ON THE TREND, FOCUSING ON THREE PILLARS: STRATEGIC SYNDICATION PARTNERSHIPS, CURATED GLOBAL CONTENT, AND LOCALISATION.

The approach, she said, has enabled the company to grow alliances with broadcasters, digital platforms, and distributors across regions such as North America, Europe, APAC, and the Middle East. IndiaCast further

expanded its footprint with Viacom18’s FAST channel, DesiPlay TV, offering Hindi films and TV shows to a diverse audience in Europe, the UK, Canada, and MENA.

Capitalising on the growing appetite for culturally resonant Indian stories, IndiaCast is bringing a wide-ranging India-focused catalogue to ATF 2024, including Bollywood movies, modern dramas, children’s content, and fantasy and mythological series. Titles like Naagin and Shiv Shakti stand out for their high production values and engaging narratives, while dramas such as Durga and Megha Barsenge explore themes of resilience and justice, appealing to international audiences.

Localisation also plays a central role in the growth of Hindi content, said Sheetal, with popular titles dubbed into languages such as Arabic, Turkish, and Bahasa. This approach aims to bridge cultural gaps and expand accessibility for global viewers. Sheetal also emphasised the importance of partnerships formed at ATF, which provide valuable insights into evolving market trends and help align their content strategy with audience preferences.

AUSTRALIA’S APPEAL IN ASIA APEXES: ABC COMMERCIAL’S NEW PUSH

Alex Zhou, Asia & MENA Content Sales Executive at Australia’s ABC Commercial, shared that opportunities for Australian content in Asia is at a high point and rapidly rising.

involving leveraging its diverse, high-quality slate to appeal to Asian markets.

Alex noted that ABC Commercial sought to expand its reach across Asia, strengthen partnerships, and explore interest in format adaptations. Titles such as You Can’t Ask That! and I Was Actually There exemplified the company’s success in formats, blending universal themes with local adaptability. Natural history programs like Living with Devils, which has found success in Japan and South Korea, also underscored the company’s commitment to meaningful storytelling.

For Alex, successful content sales hinge on strong storytelling, global appeal, and investment in returning seasons. High-quality productions like Catalyst demonstrated this philosophy, offering engaging science content that resonated with audiences in markets like Hong Kong.

At ATF 2024, the company will spotlight Ladies in Black, a vibrant drama set in 1960s Sydney, alongside I Was Actually There, a bold factual series gaining traction internationally. Familyfriendly titles like Muster Dogs will also feature prominently, reflecting the region’s appetite for culturally rich and heartwarming narratives.

With new seasons of hit series, bold adaptations, and a commitment to culturally resonant storytelling, ABC Commercial continues as a global leader in premium Australian content. Alex emphasised ATF’s invaluable networking opportunities, which help the company tailor offerings to evolving market trends and audience preferences. THE GROWING GLOBAL DEMAND FOR

Sheetal Mehra SVP Syndication and Business Head MEA IndiaCast Media Distribution

SIZE MATTERS: MICRO-DRAMAS ARE MAKING IT BIG

“Over the past two years, vertical microdramas have developed rapidly, spreading from China to the world,” observed Yang Xiang Hua, President, iQIYI International.

Vertical micro-dramas are bite-sized dramas of 1 to 5 minutes in length, designed to be watched on vertical formats such as mobile devices. These pieces of ultra short fiction content designed for consumption on the go have taken the world by storm. Globally, excluding China, it could be worth up to $2 billion a year (Variety, Sep 2024).

As addictive and innovative as these new vertical micro-dramas are, the question is— are they considered a completely new video format? “It was born out of the emergence of new media forms such as smartphones,” said Xiang Hua, as well as increased mobile Internet usage. “It has changed the way stories are told, at a faster pace.”

With that in mind, iQIYI will invest more in vertical micro-dramas in the coming year. Xiang Hua shared that they are looking at “series with shorter episodes of 5 to 20 minutes per episode in both China and the international market.”

Another trend that Xiang Hua has observed is the increased consumption of China content. “Google Search and Google Trends show that the performance of C-content is overtaking other content in many ways since the second half of 2023,” revealed Xiang Hua.

“AUDIENCE TASTES WILL ALWAYS CHANGE BECAUSE THAT’S

THE NATURE OF ANY CULTURAL, ENTERTAINMENT BUSINESS,” XIANG HUA

OPINED OF THE RECENT VERTICAL MICRO-DRAMA TREND. “WHAT DOESN’T CHANGE IS THE AUDIENCE’S LOVE FOR GOOD STORIES THAT CAN, NOT ONLY ENTERTAIN, BUT INSPIRE.”

iQIYI’s vision for the future lies in overseas expansion. “There are key markets that we will grow deeper into, such as Asia, and both North and South America,” said Xiang Hua, “and new markets that we will invest in again, such as the Middle East.”

But even as iQIYI looks to cross continents, they still have faith back home. “We strongly believe Asia, with its large population, has high growth potential—as well as many innovative minds,” explained Xiang Hua. “It will become an even more important part of every business.

“Especially to iQIYI.”

Yang Xiang Hua President iQIYI International

FEATURE

FRAGMENTED,

DEMANDING, AND SOPHISTICATED

- A GLIMPSE AT TODAY’S AUDIENCES

Are Singaporean viewers a tough crowd? Virginia Lim certainly thinks so. “We need to constantly up our game to engage an increasingly fragmented and demanding consumer base,” said the Chief Content Officer of Mediacorp.

“Our home audience today is sophisticated and exposed to international cultural influences,” explained Virginia,”in part thanks to the ease of access to content from virtually every corner of the globe.”

This isn’t just a local trend, she observed. “Consumer preferences are constantly evolving, and today’s audiences are increasingly diverse and fragmented.” Part of the reason, she noted, was that “easy access to content over social media and OTT platforms has reshaped how content is consumed.”

In particular, younger audiences “expect content to be more personalised, immediate and interactive.”

“IT IS ALSO A FALLACY TO THINK THAT MODERN DAY AUDIENCES ONLY CONSUME SHORT-FORM CONTENT,” ACKNOWLEDGED VIRGINIA.” THERE CONTINUES TO BE DEMAND FOR ALL TYPES OF CONTENT AND FORMATS –SUCH AS BITE-SIZED TIKTOK VIDEOS, MINI SERIES, LONG-FORM DRAMAS,

AND TELEMOVIES

–

FROM VARIOUS DEMOGRAPHICS AND AUDIENCE

SEGMENTS.”

So what is Mediacorp’s strategy moving forward? “In the past, our strategy was to leverage social media platforms to promote our content, with the main objective of driving traffic back to our traditional owned-andoperated platforms,” revealed Virginia. But Mediacorp’s approach has changed to meet audiences where they are, on their own terms.

One way is to work with more international partners for new concepts. Mediacorp has invested more in co-productions in the past few years, such as 2019’s All is Well (a Chinese drama co-production with Eightgeman) and 2023’s Love on a Shoestring (a Chinese romcom co-production with TVBS).

Last year, Mediacorp also collaborated with the Taiwan Creative Content Agency (TAICCA) to produce In the Name of Love–a Chinese screenplay competition show.

In their bid to look for ideas from beyond

Singapore’s shores, Mediacorp is running the inaugural ATF x Mediacorp Drama Concepts & Co-production Pitch this year. With a $10,000 cash prize at stake, the pitch aims to look for the next big drama hit that has global potential.

Virginia Lim Chief Content Officer Mediacorp

FEATURE

ALL ROADS LEAD TO GOOD IP: WHYJ CONTENTS’ PLAYBOOK

Focusing on IP-driven business models, YJ Lee, Representative of South Korea-based WHYJ CONTENTS, discussed the company’s efforts to secure diverse IPs and utilise IP packages to expand their overseas presence. According to YJ,

EACH COUNTRY’S UNIQUE MARKET DEMANDS DICTATE THE SELECTION OF IPS, PARTICULARLY FOR BRAND-CENTRIC BUSINESSES,

with partnerships forged through contracts with OTT platforms to streamline content distribution and licensing.

According to YJ, ATF’s most valuable feature is its ability to connect media professionals across Asia. “Networking opportunities with key media players in the region mirror the multicultural vibrancy of Singapore itself,” YJ remarked, highlighting the importance of cross-border collaborations in keeping an eye on upcoming and promising IPs.

Having sourced promising IPs, WHYJ CONTENTS adopts a lifecycle approach In evaluating the success of their content –specifically animated content. The airing of a series marks the beginning, licensing program activation defines the journey, and royaltygenerating merchandise launch is the ultimate measure of success.

The company’s 2024 content library includes a mix of edutainment animations for preschoolers and children aged seven and above. These selections are driven by a confidence in creating meaningful impacts in a competitive market. Additionally, YJ underscored WHYJ CONTENTS’ commitment to building lasting IP brands rather than merely selling rights. With over 20 IPs in its portfolio, the company focuses on long-term brand-building strategies.

WHYJ CONTENTS’ approach could foreshadow a rising trend of leveraging IP to craft tailored, culturally resonant content for global audiences.

LIONSGATE WORKING HARDER AND SMARTER IN 2025

Annie Yim, Lionsgate’s Senior Vice President of Television and Digital Distribution in Asia, described 2024 as a competitive year that honed Lionsgate’s ability as a market leader. She recalled the year as a “buyer’s market” with increased competition but more opportunities from both the launch of new platforms and the growth of Lionsgate’s unscripted catalogue, following the acquisition of eOne. This acquisition added thousands of titles to their portfolio.

Annie further highlighted Lionsgate’s expansive library of sought-after titles, including blockbuster franchises such as John Wick and The Hunger Games. Additionally, Lionsgate’s partnerships with renowned filmmakers like Quentin Tarantino brought iconic titles like Kill Bill into their catalogue, bolstering their appeal to buyers.

However, Annie believes the market will only get competitive. Looking ahead to 2025, Annie emphasised the importance of smarter, more

innovative approaches to meet evolving buyer demands, saying

“IT’S A YEAR WE ALL HAVE TO WORK HARDER AND SMARTER THAN EVER AND BE WILLING TO TAKE RISKS.”

In the face of the year ahead, Lionsgate has full confidence in its diverse library – part of which will be showcased at at ATF 2024, including Spartacus: House of Ashur, a sequel to the beloved series; Robin Hood, a reimagined take on the legendary hero; and The Hunting Wives, a STARZ suspense thriller. The company will also present its first Israeli spy drama, centred on the hunt for Nazi war criminal Josef Mengele, demonstrating its commitment to varied and impactful storytelling. With these, Lionsgate spearheads the industry with its gripping narratives and dynamic characters that resonate globally.

Annie Yim SVP, Television and Digital Distribution, Asia Lionsgate

PLANS TO BUILD A DIVERSIFIED PORTFOLIO IN 2025

Taiwan Mobile’s next step forward—finding further impetus at ATF

ATF is thrilled to welcome Webber Cheng, Vice President of Content Development at Taiwan Mobile for the first time. Webber, having a distinguished background in the industry, coming from the likes of MOMO TV under FUBON Group as President, and Lang Live and Weibo/Sina Weibo in Taiwan as CEO, is at ATF to reconnect with old friends in the industry,

“I’m focusing on meeting with key players in the film and TV sectors to maintain strong relationships. I’m also eager to scout for new content that can range from dramas to series,” noted Webber, who is also focused on gathering cutting-edge industry insights with the aim to eventually connect Taiwan with more international resources and opportunities, developing into a vital bridge.

With a changing role of merely acquiring distribution rights for existing and upcoming movies and shows, paying licensing fees to studios and networks for streaming rights on its platform, MyVideo, Taiwan Mobile has shifted towards financing its own original content, “moving from merely licensing to commissioning and owning early window or exclusive rights,” noted Webber, whose role involves making content-related investment decisions, such as selecting the right partners and projects.

“As competition in the market has intensified, Taiwan Mobile is taking on a more proactive financing role,” explained Webber. “We’ve begun collaborating with producers and synergizing resources from our parent company, Fubon Group, to seek out creative stories and innovative business models, all while aiming for healthy financial returns.”

Webber does acknowledge, however, that Taiwan faces key challenges such as a lack of diverse financing options, an incomplete investment return mechanism, and insufficient risk management tools.

“ADDITIONALLY, THERE IS A PRESSING NEED FOR STRONGER INTERNATIONAL COOPERATION AND FUNDING TO ENHANCE OUR INDUSTRY’S OVERALL COMPETITIVENESS,” NOTED WEBBER.

Despite a less than robust financing ecosystem, Taiwan Mobile is confident of the path it is on, having invested in over 50 projects since 2018, demonstrating the company’s commitment to the industry.

“Since September 2024 alone, we’ve evaluated more than 30 new projects,” expounded Webber. “We continue to allocate substantial budgets to highprofile co-productions with both local and international production companies, reinforcing our dedication to fostering quality content,” he concluded.

Webber Cheng VP Content Development

Taiwan Mobile

AGILITY AND FLEXIBILITY HELP NAVIGATE INCREASINGLY COMPETITIVE INDUSTRY

Jimmy Elkington, Head of Sales for APAC, MEA, Israel, and In-flight at Australia-based company Fred Media, shared that in 2024, the company maintained steady business, adapting its funding strategies to meet evolving industry demands. Amidst recent industry changes, Jimmy noted that

FRED MEDIA COULD

NO LONGER RELY SOLELY ON BROADCASTERS TO COMMISSION FULL SERIES, REQUIRING A MORE AGILE APPROACH TO CONTENT DEVELOPMENT AND FINANCING.

At ATF 2024, Fred Media will present an impressive slate of over 400 hours of fresh content. The diverse offerings span cooking, travel, home renovation, reality, and

observational documentaries, along with several exciting titles in development. Jimmy explained that lifestyle content remains a cornerstone of their success in Asia, with light entertainment consistently resonating with regional audiences. By focusing on genres with enduring appeal, Fred Media is positioning itself to meet the needs of buyers looking for engaging, versatile programming.

Jimmy expressed enthusiasm about the opportunities at ATF, highlighting the event’s role in connecting with existing partners and forging new relationships. With a robust content lineup and a flexible approach to production, Fred Media demonstrated its readiness to navigate the competitive landscape and deliver standout programming to its global partners.

He described ATF as a standout event, praising its proximity to Australia and the diversity of clients it attracts in a relaxed, yet productive setting. Held in the vibrant city of Singapore, ATF continues to be a key market for Fred Media.

ACCESS KOREA BETS BIG ON ANIMATION

SeungNam Baek, CEO of Access Korea, is excited to bring the company’s latest animated work, SauceRia, to ATF 2024. Specialising in animation planning, distribution, and character licensing, Access Korea has a strong background in both creating and commercialising unique, characterdriven content. With SauceRia, a lively animation inspired by sauce-themed characters, SeungNam is keen to extend its reach beyond South Korea, tapping into new global markets.

A key priority for SeungNam and his team at ATF this year is to expand SauceRia’s international broadcast and forge new partnerships. To facilitate this, Access Korea has strategically dubbed the show in both English and Chinese, positioning it well for viewers in Greater China and broader international audiences.

SeungNam Baek CEO Access Korea

ACCESS KOREA’S STRENGTHS LIE NOT ONLY IN ANIMATION DISTRIBUTION BUT ALSO IN CHARACTER MERCHANDISING AND LICENSING, WHICH PLAY A VITAL ROLE IN EXTENDING THE SHOW’S BRAND BEYOND THE SCREEN.

“We will actively engage in co-operative marketing with our contracted partners,” SeungNam explained, highlighting the company’s commitment to collaborative growth and local popularity.

Alongside showcasing SauceRia, Access Korea will also spotlight its role in introducing Asian and European animated titles to Korean audiences. Industry professionals attending ATF are invited to visit Access Korea’s booth at L20 to explore partnership opportunities and learn more about the unique offerings in their portfolio.

Jimmy Elkington Head of Sales (APAC + MEA + Israel + In-flight) Fred Media

FEATURE

THE ROAD AHEAD: SINGAPORE’S CO-PRODUCTION & TALENT PIPELINE STRATEGIES FOR THE FUTURE

“We have seen increasing interest in Singaporean and Asian stories and content,” said Justin Ang, Assistant Chief Executive, Infocomm Media Development Authority (IMDA). He observed that “local language content is central to media consumption” today, especially when it comes to streaming platforms.

“Asian content is no longer confined to regional boundaries,” Justin explained, citing the recent IMDA-led delegation of 30 media companies at the recent MIPCOM. “[They] brought more than 100 pieces of content to market,” with titles such as Mediacorp’s Emerald Hill

Justin

Ang Assistant Chief Executive Infocomm Media Development Authority (IMDA)

With international demand assured, how fares the supply side? There is now a stronger emphasis on co-productions, with shared financing and intellectual property between partners. In fact, shared Justin, “Singapore was the first to roll out a Southeast Asian coproduction grant which we launched in 2019 for films.” IMDA also announced a $30 million International Co-Production Fund last year.

IMDA’s internationalisation strategy has been to encourage Singapore filmmakers to work with international and regional partners. This has borne fruit with recent productions such as Don’t Cry, Butterfly, a SingaporeVietnam co-production, Stranger Eyes, a France-Singapore-Taiwan-United States coproduction, as well as the recent film Mongrel, a France-Singapore-Taiwan co-production.

Yet funding is not just the only way that the everchanging media industry is evolving. “New emerging tech will revolutionise the way we create and experience media,” noted Justin, highlighting Virtual Production and Generative Artificial Intelligence (GenAI) as two key technologies that IMDA has been encouraging the industry to adopt.

“Both are rapidly becoming gamechangers in our media sector,” Justin pointed out. “IMDA provides funding to encourage the industry to experiment with and take up the tech.” As an example, IMDA announced a $25 million Virtual Production Innovation Fund last year.

“BUT TO FULLY GRASP THESE NEW OPPORTUNITIES, WE NEED TALENT IN VIRTUAL PRODUCTION AND GENAI TO TAKE THE INDUSTRY FORWARD,” SAID JUSTIN.

The Skills Framework for Media has been refreshed to include new skills such as Virtual Production and GenAI, providing critical insights into existing and emerging skills in the media industry.

“At the heart of the media sector is the people who tell compelling stories and bring them to life,” said Justin. “We are excited to see the transformation of our media sector in the years to come.”

BUYERS

OUT OF ASIA—INTO AFRICA

African buyers descend into ATF 2024 to source a plethora of Asian content as interest grows across various genres

ATF 2024 has welcomed some great new profiles across the M&E ecosystem. Among the fresh faces are buyers that service the African continent. The acquisition profiles present at ATF acknowledged that throughout the decades, thriving Asian content has mostly been that from Bollywood and Chinese martial arts movies.

Recently, content demand in the continent has drastically been evolving, painting a landscape that includes the likes of Filipino telenovelas, Korean dramas, and Japanese anime, among a plethora of other Asian offerings.

To date, Sabrina Mohamedali, Chief Executive Officer of Azam Media Limited, noted that Korean and Filipino family-oriented drama series are more commonly watched in Tazania, while Simon Tchokonte, CEOFounder of Dalino Media expanded that content from these two cultures are also popular in Kenya, Uganda, and South Africa.

“Prima Donnas Season 1, a telenovela from the Philippines had a huge success in Eastern Africa, explained Simon. “Squid Game, the Korean drama series had a massive success all over Africa (West, East, Central, South, North). K-Pop is starting to take off, but it is not as popular as in Europe and Eastern Asia. Turkish drama series also do pretty well in various countries including Angola and Mozambique,” Simon illuminated, noting that there is also an increasing demand for Arabic content.

Cynthia Nassardine, CEO/MD & Producer of Golden Lioness Productions offered continued insights into the African psyche, across its Anglophone and Francophone colonies.

“Korean pop music (K-Pop) has surged in popularity, especially in Anglophone regions like Nigeria, Ghana, and Kenya, where K-Pop fan bases and music streams are rapidly increasing,” explained Cynthia. “Similarly, Korean dramas (K-Dramas) are making waves in both Anglophone and Francophone countries.

“Young viewers across the continent are drawn to their compelling stories and high production quality. Platforms like Netflix have helped boost their reach by providing French and English subtitles, making K-Dramas especially popular in Côte d’Ivoire, Senegal, and urban centres across Africa.”

KOREAN POP MUSIC (K-POP) HAS SURGED IN POPULARITY, ESPECIALLY IN ANGLOPHONE REGIONS LIKE NIGERIA, GHANA, AND KENYA, WHERE K-POP FAN BASES AND MUSIC STREAMS ARE RAPIDLY INCREASING

Cynthia Nassardine CEO/MD & Producer

Golden Lioness Productions

KOREAN AND FILIPINO FAMILY-ORIENTED DRAMA SERIES ARE MORE COMMONLY WATCHED IN TAZANIA

Sabrina Mohamedali CEO Azam Media Limited

I WILL BE EXPLORING TELENOVELAS, SPORTS, MOVIES, AND DOCS AT ATF THIS YEAR

Simon Tchokonte CEO-Founder Dalino Media

Chinese TV series and films are also carving out an audience, particularly where they have been dubbed into local languages like Swahili and Hausa, which has fostered a following in East African countries such as Tanzania.

“This localization strategy has been key to broadening their appeal,” Cynthia enlightened. “In Francophone Africa, there is growing interest as well, supported by Chinese cultural initiatives that bring more Asian content to the region.

“Japanese anime is building a dedicated fan base across Africa, with younger viewers appreciating its unique storytelling and visual style. Subtitled or dubbed versions are making anime accessible in both Anglophone and Francophone areas, often through streaming services.

“Bollywood continues to hold a steady appeal in urban areas across both language groups, as vibrant storytelling and musical elements resonate with audiences who have long enjoyed Indian cinema,” Cynthia remarked.

Ultimately, Asia’s content impact in Africa is expanding as platforms improve access and make these diverse stories available in more languages.

And so, it is no wonder African buyers have shown greater interest in ATF, open to exploring new and different genres to acquire, including Asian football rights— especially the Saudi’s league and Asian Champions League, animation, and Asian documentaries.

“I will be exploring telenovelas, sports, movies, and docs at ATF this year,” shared Simon, who noted several source markets such as Turkey, Lebanon, India, Korea, Japan, China, The Philippines, Thailand, Indonesia, Malaysia, Singapore and so on.

Cynthia noted that beyond the established successes of South Korea and Japan, Thailand is emerging as a promising source of content. “Their horror and romance genres, in particular, are finding new audiences in Africa, offering fresh perspectives and storytelling styles that differ from traditional Asian content,” revealed Cynthia. “By diversifying our content portfolio with these genres and exploring offerings from countries like Thailand, we aim to cater to the evolving tastes of our African audience and provide a broader range of entertainment options.”

The rise of African interest in Asian content acquisition is—to a lesser extent—cajoling African buyers to be increasingly wellpositioned to take on roles as co-producers or gap financiers.

“As demand for diverse content grows, platforms like Octave see the value in coproducing or financing to create more tailored and exclusive content. This approach allows African buyers to infuse culturally relevant elements into projects, enhancing local appeal and sharing creative input,” concluded Cynthia, who offered a recent example of Black Tea by Abderrahmane Sissako, a film that reflects cross-cultural Chinese African romance, and one that has resonated with both African and global audiences.

BUYERS

LOOKING

FOR Drama—Film

CONTENT TO BUY FROM Southeast Asia, Europe

SAY WHAT?

“Be clear about why your content is valuable for the market and the audience…”

LOOKING FOR Drama—Series

CONTENT

TO BUY FROM East Asia

SAY WHAT?

“We are always looking for what’s trending in the international market and for fresh and original concepts that stand out.

LOOKING

FOR Docs & Factual—Science & Knowledge

LOOKING FOR Drama—Film

CONTENT

TO BUY FROM East Asia, Southeast Asia

SAY WHAT?

“We are still looking for cartoons for children and even adults to broadcast on HTV…”

CONTENT TO BUY FROM

Americas

SAY WHAT?

…comparing the project with the content already purchased on our platform, especially those with good broadcast performance, will increase the likelihood of collaboration.

LOOKING

FOR Anime

CONTENT

TO BUY FROM East Asia, Americas, Europe

SAY WHAT?

“I strongly suggest they can visit and understand our platform first…” (before attempting to sell to En-Ju)

Cyril Le Jeune | CEO Canal+ Myanmar Production Ltd | Myanmar

Fernanda Pereira | Licensed Content Specialist Grupo Globo | Brazil

Marilyn Sun | Snr Manager— Acquisition & Content Collaboration BiliBili | China

Hien Bui | Advertising and copyright specialist Ho Chi Minh City Television (HTV) | Viet Nam

Lin En-Ju | Product Manager Chunghwa Telecom | Taiwan

LOOKING FOR

Docs & Factual—History & Civilisation

CONTENT TO BUY FROM East Asia

SAY WHAT?

“KBS does not want to have strong or spicy content, but rather to make it fun for the whole family, to maintain community values, and to show individual virtues.”

LOOKING FOR

Drama—Action/Adventure

CONTENT TO BUY FROM

South Asia, Southeast Asia

SAY WHAT?

“As a platform, Lionsgate Play South Asia and Southeast Asia, we seek fresh new content, preferably in English, with an urban male appeal. Hollywood appeal is always a win-win—we focus on action, crime, and thrillers, so if there is content in those genres, we would love to connect.”

LOOKING

FOR Kids (Ages 7 and up) - Animation—Series

CONTENT TO BUY FROM

SAY WHAT?

“We’re seeking 3D animation TV series for kids 7+… If you do intent to sell your content or IP to China, you better understand the current situation prior to the market. Also, a creative idea will always work.”

LOOKING FOR

Drama – Series

CONTENT TO BUY FROM

SAY WHAT?

“I look for scripted shows only and prefer to costume or modern romance dramas. If sellers have library titles, I would like to check if there is a clean version of the dramas, which means no-textson-screen-versions, coupled with the provision of subtitle SRT files.”

LOOKING FOR

Drama—Crime Investigation

East Asia

CONTENT TO BUY FROM

Southeast Asia, Europe

SAY WHAT?

“I would like sellers to understand that it is a very difficult market. It would take a lot of time and patience to (penetrate the) Japanese market, but once you are successful, the relationship can be (a long one).”

Yi Tae Heun | PD KBS | S Korea

Nanjing Luo | Head of Kids and Animation Jetsen Huashi | China

Kim Hyoeun | Manager KT Alpha (subsidiary of KT) | S Korea

Chikako Shibue | President & CEO Intervision Inc. | Japan

Anuj Gurnani | Lead - Content Lionsgate Play | India

PRE-SALES

DOCS & FACTUAL

IBERIA & SAVANNAH: ONE WILDLIFE

The unique ecosystem of ‘Dehesa’ in the Iberian Peninsula closely resembles the African savanna, despite being in Europe. This documentary explores whether these distant landscapes function similarly and whether their animals lead parallel lives. The story spotlights the large predators, comparing these majestic animals and their survival strategies in two strikingly similar yet vastly different habitats.

COMPANY: ONZA DISTRIBUTION

GAME SHOW

BRING IT ON!

After 15 years, the once immensely popular Asian group, Lollipop, reunites, showcasing the growth and maturity time has brought. Six members face a series of challenges designed to test their determination, perseverance, and team spirit. Through mutual encouragement and support, they push their limits, overcome obstacles, and strengthen their bond. This inspiring journey of resilience and unity culminates in their ultimate goal: standing together on a stage, delivering an unparalleled and spectacular performance that made them unforgettable.

COMPANY: STAR VISION INC.

ANIMATION | Pre-School GIGANTOSAURUS

For four young dinosaurs named Rocky, Bill, Tiny, and Mazu, life in the Cretaceous period is a thrilling mix of fun and discovery. New volcanoes erupt, majestic brachiosauruses and towering triceratopses roam the land, and dazzling meteor showers illuminate the night. All the while, the fierce Gigantosaurus rules as the ultimate challenge in their ever-exciting prehistoric world.

COMPANY: CYBER GROUP STUDIOS

PRE-SALES

NAKEE 3 THE CURSED WAR

On the war-torn border between two kingdoms, the Princess of the Naka Kingdom and the Prince of the Garuda Kingdom lead their armies into battle. Despite their enmity, the prince becomes captivated by the princess’ bravery and beauty, proposing peace through marriage. As their romance blossoms, they face betrayal, opposition, and a tragic curse tied to the princess’ heritage, testing their love.

COMPANY: MONO STREAMING

Building on the success of its first season, Yes! Night Market returns with head chef George Hu and four dazzling stars from film, television, and music. In this second season, the team explores five must-visit night markets across northern, central, and southern Taiwan, popular with both local and international tourists. The show highlights the vibrant culture, flavours, and unique experiences these markets have to offer.

COMPANY: SETTV CO., LTD.

DRAMA | Film BADAK

Badak, a deaf single father, lives with his daughter Mirah, working in their small burger shop. The only difference between them is her love for hip-hop music. When Mirah becomes an overnight sensation after her debut performance, Badak struggles to connect with her through music. As her career grows, he realises understanding her comes not through listening, but through connecting with his heart.

COMPANY: CLOVER FILMS PTE LTD

PRE-SALES

THERE’S SOMETHING WRONG WITH THE TV!

Teenager Kla and his best friend discover an antique TV set hidden under the stairs. When they turn it on, they find themselves speaking to four children trapped inside the TV, seemingly held by something dark and sinister. They enlist Kla’s father to help free the children from this mysterious world, unaware that the TV harbours a more wicked force than they could ever imagine.

COMPANY: NIGHT EDGE PICTURES CORPORATION LIMITED

LOST IN THE WOODS

Fifa, a materialistic young man is sent to his family’s farm, where he crosses path with Hem, a reserved forest ranger with a painful past. Despite clashing personalities, they form a deep connection that blossoms into love. As responsibilities and societal pressures threaten their bond, Fifa and Hem must navigate their feelings and discover life’s deeper meaning. Based on the beloved novel Rue Du Long Pa and inspired by Call Me by Your Name and Brokeback Mountain, this heartfelt coming-of-age series explores love, growth, and resilience.

COMPANY: HALO PRODUCTIONS CO., LTD

ANIMATION | Kids (Ages 7 & up) | Film HELLO PHOENIX MAN

Phoenix Man, the hero from another dimension, uses nanotechnology to transform into a robot and battle monsters created by the villainous genius scientist and musician, Bema. With cutting-edge technology, the series delivers stunning visuals and dynamic action scenes, bringing this epic battle to life.

COMPANY: STUDIO W.BABA

DRAMA | Film

DRAMA | Romance | Film/Series (x7)

DRAMA | Romance 9 YEARS OF YOU

Over nine years, lifelong friends Parun and Napdao navigate career struggles, personal hardships, and unresolved emotions. Through family challenges, failed relationships, and professional milestones, they realise their connection goes beyond friendship. Their journey of heartbreak, reconciliation, and growth leads them to understand love as a lasting bond rooted in care and mutual support for each other.

COMPANY: ONE31 COMPANY LIMITED

PRE-SALES

ANIMATION | Kids (Ages 7 & up) MICE FICTION

In Ratopolis, an advanced underground city of intelligent mice, chaos erupts when the eccentric Professor Tahsin misuses a time machine for personal gain, endangering their future. Guided by their wise mentor, Mercan Dede, a team of brave young mice races through time, facing peril and difficult choices to stop history from unravelling and prevent a return to their primitive past.

COMPANY: VFX ISTANBUL PRODUKSIYON LTD STI

DOCS & FACTUAL

JAPANIMATION, 100 YEARS OF MASTERY

For 50 years, characters from iconic Japanese anime have captivated the world, appearing on countless products. Beloved icons like San Goku, Luffy, Naruto, and Totoro resonate with fans and newcomers alike. Yet, despite its global impact, anime’s origins and creative process often go unrecognised. This series explores the phenomenon by traveling across three continents, meeting the talented creators who work behind the scenes to bring the stories to life.

COMPANY: ZED

PRE-SALES

SUSPENSE THRILLER

THE CONFESSION

In this gripping tale that explores the intersections of justice and morality, a Catholic priest is accused of murdering a woman. As evidence mounts against him, he insists he knows secrets he cannot reveal, bound by the sanctity of confession. A determined journalist races to uncover the truth, but the priest’s demise underscores the complex power of confession and the heavy toll of keeping secrets.

COMPANY: NH STUDIOZ

CRIME THRILLER

THE FOREST

In a polluted village, the elderly fall ill while a nearby forest becomes notorious as a suicide spot. Junmin, a taxi driver, who ferries individuals to the doomed destination, becomes entwined with a local gang when he unknowingly delivers the daughter of a local gang leader, Yawen, to the forest. Tracked down by the gang, Junmin is forced to guide them into the woods to rescue Yawen. As he unravels the truth behind a string of disappearances, Junmin confronts a mysterious force that lures its victims to their doom.

COMPANY: CHOU’S ENTERTAINMENT LTD.

PERIOD DRAMA

A CONFUCIANIST WITH A SWORD

Swapping the navy for school, Kim Siwoo, a navy officer goes undercover at Sungkyunkwan to investigate his brother’s mysterious death. Amidst his investigation, he becomes romantically entangled with Yeo Jin, a brilliant and attractive student. As Kim Siwoo adjusts to his new environment and struggles to keep up with his classmates, he must navigate Confucian ideals, love, and political intrigue, all while balancing the weight of his secret mission.

COMPANY: KIMJONGHAK PRODUCTION CO., LTD

In 20 + countries, lol ! Shh! They can’t laugh, but YOU can!

Gameshow Format

NEW IPs

Based on true events, this feature film tells the poignant story of a doctor diagnosed with early-onset Alzheimer’s and his prodigal son, who struggles to help him recall their shared past. With the son facing a divorce and personal turmoil, the family must confront old wounds that have kept them apart. In their quest for connection, they fight to reclaim the bond that time and life’s challenges had stolen.

CREATIVE

Set in Tokyo in the near future, best friends Yuta and Kou are on the brink of graduating from high school where the threat of a catastrophic earthquake casts a shadow over daily life. One night, they play a prank on their principal with unexpected consequences, leading to the installation of a new facial recognition surveillance system in the school that penalises students with points, leading to absurd and arbitrary punishments.

Based on AA Dhand’s best-selling crime novels, this six-part drama follows Detective Harry Virdee, a Bradford cop navigating a turbulent personal life while pursuing a killer targeting the Asian community. With a murderer holding the city hostage, Harry faces an impossible choice: reunite with and protect his family or risk everything to save his city.

COMPANY: CINEFLIX RIGHTS

HAPPYEND

DRAMA | Film

COMPANY:

STEW (JUMPCUT STUDIOS PTE. LTD.)

COMPANY: GIRAFFE PICTURES PTE LTD

MEMORI

DRAMA | Film

DRAMA | Crime VIRDEE

NEW IPs

GAME SHOW SPLIT SECONDS! 权在一瞬间 !

Speedrunning, the art of completing video games at lightning speed using skill, strategy, and exploits, takes centre stage as top gamers gather in Asia to compete. Battling through intense challenges, either solo or in teams, they race against the clock and each other to climb the leaderboard. With a $500,000 prize at stake, only one speed runner will emerge victorious, claiming the ultimate title of champion in this high stake showcase of precision and gaming mastery.

COMPANY:

ANIMATION | Pre-school GOODNIGHT PAJAMAL

Plump animal friends from around the world come together for a pajama party. United by their love of play, their shared wishes summon a mysterious powder. What adventures await in their school life with this newfound magic? Join them on a journey to a fantasy island where imagination comes to life!

COMPANY: ANYZAC CO., LTD.

ANIMATION | Kids (Ages 7 & up)

BELFORT & LUPIN

Belfort, a young spaniel and King Louis XIV’s cherished companion, teams up with his cunning friend Lupin, a savvy wolf from the gardens. Together, this unlikely duo combines Belfort’s aristocratic know-how, with Lupin’s street-smart wit, forming an unstoppable team. Fuelled by their love for mischief and adventure, they uncover the hidden secrets of the palace and rally their animal friends for unforgettable escapades in the grandeur of Versailles!

COMPANY: MEDIATOON DISTRIBUTION

NEW IPs

DRAMA | Romance BLOSSOM

DRAMA DRUG WAR: A CONSPIRACY OF SILENCE

In this episodic period romance, the heiress of the Dou family is accidentally reborn and joins forces with Song Mo, a man carrying a family grudge. Together, they work to save their families from ruin, expose the injustices faced by loyal officials, and restore peace to the country. Their journey is one of love, loyalty, and redemption, as they navigate the turbulent challenges of their world.

COMPANY: YOUHUG MEDIA

Inspired by true events from the Philippines’ drug war, this gripping crime drama follows Fr. Tom Carillo, a disgraced priest, and guilt-ridden cop Yana Macabeo as they uncover a deadly conspiracy tied to the mysterious death of Tom’s former protege, Kiko Agustin. As dark secrets emerge, Tom must confront his past to seek redemption and expose the truth in a fight for justice.

COMPANY: REIN ENTERTAINMENT PRODUCTIONS

KUMA (THE OTHER WIFE)

When Ceylan’s father tries to sell her to settle his gambling debts, she runs away from home and finds refuge with Karan, a wealthy businessman. However, Karan’s mother and sisterin-law, Sema, disapprove of their relationship. When Ceylan is framed for the murder of Karan’s brother, Karan marries Sema. Ceylan, now relegated into the role of second wife, seeks out to prove her innocence and win her husband’s affection.

COMPANY: GOQUEST MEDIA

DRAMA | Romance

NEW IPs

TOMB WATCHER

A young woman, invited to stay at a luxurious vacation home with her boyfriend, hopes for a blissful escape with the man she loves after hiding their relationship for so long. However, their idyllic retreat takes a dark turn when she discovers they are not alone – she must live alongside the corpse of his deceased wife.

In this experimental reality show, four Korean men and four Japanese women embark on ‘Local Date’ tours across Korea. This unique series explores cultural interactions, and aims to connect Korean and Japanese audiences, blending exploration with heartfelt storytelling to expand its global reach and foster cross-cultural connections.

COMPANY: MOOAM CO., LTD.

Kamduang, delivering buffalo for her ill father, meets Khun Aek, an officer avoiding monkhood. To escape political schemes, he offers her a rare golden ginseng to pose as his wife. As they navigate her transformation into a refined lady, they face a cunning thief, political intrigue, and a love triangle. Amid challenges, their unexpected bond deepens, blending danger, romance, and self-discovery.

COMPANY: BEC WORLD (PUBLIC) CO., LTD.

DRAMA | Horror | Film

DRAMA | Comedy MY SASSY WEDDING

COMPANY: KANTANA MOTION PICTURES

REALITY SHOW BE MY K GUIDE

ANIMATION | Pre-School BIG LIZARD

After crash-landing on planet Proxima, 7-yearold astronaut Cosima meets her larger-than-life best-friend-forever, Big Lizard. Together they have a whole prehistoric world to explore and fun to be had guided by Cosima’s Dad and on-board supercomputer D.O.R.I.S. (Digital Online Robotic Intelligence System). Cosima loves nothing more than hanging out with her best buddy, Big Lizard, but life on Proxima isn’t all plain-sailing—this is a wild world, a gigantic one, which would test the skills of even the best space explorer.

COMPANY: AARDMAN ANIMATIONS

ANIMATION | Kids (Ages 7 & up) ALEX PLAYER

Camille, Amy, and Mike’s e-sports team, the Mongooses, faces a challenge when they lose their captain. Enter Alex, a charismatic football player with zero gaming experience—until his hidden talent and leadership shine through. With courage, perseverance, and teamwork, Alex unites the underdog team, unlocking their true potential. As the pressure of competition mounts, the talented Mongooses must rely on their strengths to triumph against all odds.

COMPANY: CYBER GROUP STUDIOS

DOCS & FACTUAL BLUEPRINT FOR SPACE

Space exploration, though still evolving, is built on decades of meticulous problem-solving and groundbreaking achievements. Delving into the innovations that have shaped our understanding of the cosmos, Blueprint for Space examines key milestones such as the first attempts to reach orbit, the Cold War-era Space Race, the Space Shuttle era, and efforts to establish a space station.

COMPANY: BROKEN ARROW MEDIA

NEW IPs

NEW IPs

Morihito Otogi, a high school student with the power of an ogre, becomes the familiar of his childhood friend Niko, who is training to be a witch. Niko is thrilled to reunite, but Morihito’s mission is to protect her from a prophesied calamity. As they navigate unpredictable troubles caused by Niko’s magic, the pair face challenges, marking the beginning of their adventures together.

COMPANY: MAINICHI BROADCASTING SYSTEM, INC. (MBS)

DRAMA | Crime Investigation DETECTIVE ROMI

Romina Goitia is a deaf private detective with a unique ability to read non-verbal cues and detect lies. Her impulsive methods often clash with her disciplined intern, Nere, and frustrate her mother, Alaia, head of criminal investigations. When Romina investigates her father’s mysterious death in an explosion 20 years ago—an event that caused her hearing loss—she uncovers hidden truths and question if his death was truly an accident.

COMPANY: MEDITERRANEO - MEDIASET ESPAÑA GROUP

In 2091, the spacecraft Astra Nova becomes lost in space after a nuclear explosion devastates Earth during its return from a Saturn mission. The crew is thrust across the galaxy and eventually finds their way back – only to discover Earth 100 million years in the future. Facing a desolate desert and an unfamiliar civilization, they prepare to leave again, but a mysterious boy and a magical event alter their destiny.

COMPANY: JOY COMPANY INC

DRAMA SONG OF THE FIREFLIES

In the 1980s, young grade schoolers Jacqueline and Herbert, along with their talented choir, are led by choirmaster Alma Taldo through challenging choral competitions, aiming for the national contest in Manila. Hailing from a small inland town, they face trials, auditions, and their own personal struggles. Along the way, they discover young love and the true meaning of victory in determination, unity, and the support of their community.

COMPANY: CIGNAL TV, INC.

ANIMATION | Teens (Ages 13 & up)

FIRST RENDEZVOUS WITH THE 72 MOLD TRIBES & THE PRELUDE TO A NEW PLAYGROUND

On a remote island, the Mold Tribes, infected by a “solitude virus,” survive by harvesting shadows belonging to young children. These silhouettes are then added to their spaceship to sustain their lives. Eunhoo, a child reborn with fiery strength and determination, emerges as a leader and embarks on a mission to rescue the trapped children, igniting hope and light.

COMPANY: EUNHUHOLDINGS CO., LTD.

STUDY GROUP (WT)

Yoon Ga Min, is determined to perform well at school, but he ends up getting into trouble. Determined to get into university, he forms a study group at the world’s worst school, where chaos and brawls are the norm. This miniseries explores themes of resilience, friendship, and determination as Yoon Ga Min battles both fists and books to achieve his goal against all odds.

COMPANY: CJ ENM

NEW IPs

DRAMA

EXISTING IPs

BELAIAN DRAMA | Film

In a world where modern fatherhood intersects with mental health struggles, Akim, a single father, battles postnatal depression and the loss of his wife, all while raising his newborn daughter, Kasih.

COMPANY: ELEMENTS PICTURES PTE LTD

DRAMA BRIGHT MINDS

Spanning five seasons, this crime investigation series follows Detective Raphaelle Coste and her partner Astrid, a young autistic woman with encyclopedic expertise in criminal cases. Together, they tackle mysteries, from a bloody diamond heist to an in-flight murder and a “twice-dead” victim. Meanwhile, Astrid navigates life with her clingy seven-year-old half-brother, Niels, and Raphaelle faces challenges from a new colleague, Nora, adding layers of personal drama to their professional pursuits.

COMPANY: FRANCE TV DISTRIBUTION

DRAMA| Film

ONE NIGHT WITH THE KING

The film follows a young Jewish girl’s journey from peasant to princess, her bravery in saving her people from annihilation, and her triumph in winning the heart of the most powerful man in the kingdom.

COMPANY: TRINITY BROADCASTING NETWORKS

EXISTING IPs

ANIMATION | Kids (Ages 7 & up)

DR. BINOCS SHOW

Take a trip into Singapore’s past and explore life in a bustling colonial city-state of diverse immigrant communities, or a world of traditional villages (kampungs) and free-roaming cattle, to crowded urban squatter areas. Through memories, animation, reenactments, and archives, Let Me Tell You a Story chronicles poignant to humorous firsthand stories of a generation born before World War II, offering insights into the rich, dynamic fabric of a bygone era in Singapore.

COMPANY: YING GROUP

This series opens a world of exploration and imagination for children, blending education and entertainment through songs and music. Aimed at kids aged 5 to 12 years, each episode covers a variety of topics to enhance general knowledge, including science, geography, inventions, evolution, and history. Through melodies and fun learning, the show sparks curiosity and fosters a love for learning in young minds.

COMPANY: RAJSHRI ENTERTAINMENT PRIVATE LIMITED

DOCS & FACTUAL WILD TROPICAL AUSTRALIA

Come journey along Australia’s east coast, facing the Great Barrier Reef, where vast wetlands are made up of rainforests, swamps, and mangroves. Showcasing Queensland’s exceptional biodiversity, the wildlife and nature series offer an insight into the continent’s earliest days and tropical origins and uncovers unique plant and animal species that have survived through the ages.

COMPANY: HARBOUR RIGHTS

EXISTING IPs

DRAMA BLACK WAR

Jeong Hyuk, a gangster from the fading Samgeori-pa gang, runs the streets of Samgeori with two other gang brothers. When Detective Han investigates the secret ledger of the gang’s former leader, Jeong Hyuk plots to eliminate him. However, his plan derails when Jeong Hyuk unexpectedly falls for Su-yeon, a restaurant owner. Torn between love and loyalty, Jeong Hyuk faces an unavoidable clash with Detective Han in this gripping crime drama.

COMPANY: INTERCONMEDIA INTERNATIONAL CO., LTD

In this high-stakes action thriller, an elite anti-terrorism squad is called upon to save Dhaka, Bangladesh, from chaos when a terror leader launches a massive plan to destabilise the nation. Racing against time, they face immense challenges to navigate intense danger, neutralise the threat and protect millions before the situation spirals out of control.

COMPANY: MULTIVISIONNAIRE PICTURES

Sixteen student teams from top high schools in Thailand compete in quizzes and games to showcase their STEM (Science, Technology, Engineering, and Mathematics) skills, demonstrating their relevance in everyday life. Each episode also features a bonus round, where the winning team faces an Escape Room challenge. Testing their teamwork and problemsolving abilities, they must solve puzzles using their knowledge and escape within a set time.

COMPANY: THAI BROADCASTING COMPANY LIMITED (WORKPOINT GROUP)

GANG WAR DRAMA

TV GAME SHOW STEM WAR

EXISTING IPs

DRAMA DETECTIVE CHIRP & THE GOLDEN BEEHIVE

Life in the quiet, conservative village of Bras Basah is turned upside down when a city girl, Hanie, arrives and renovates her grandfather’s old house into a lingerie shop named La Luna. As most villagers warmly embrace the newcomer and the shop becomes popular with visitors from across the region, the village’s iron-fisted chief is determined to drive her out, sparking a clash that challenges traditions.

COMPANY: PAPAHAN FILMS PTE LTD

Dazed and confused, Chihiro awakes on a pile of garbage with memories of the wedding still fresh in his mind. When out of the blue, a young man named Keito appears before him. Instantly, he recalls the night he spent with this person. The booze! The hotel! The punch to his face! Chihiro may not have a place to call home currently and Keito may not be a good person by any means, but maybe the two of them could be happy together.

COMPANY: NBCUNIVERSAL ENTERTAINMENT JAPAN LLC

As residents of Honey Valley gear up for City Day, the legendary Golden Beehive vanishes, casting a shadow of misfortune. When the local Chief Detective’s assistant, a young squirrel named Chirp is accused of committing the crime, he teams up with his boss, Detective Sophie the Owl, to uncover the criminal behind the heist, restore the precious artifact, and save their beloved town.

COMPANY: TWELVEP ANIMATION

LA LUNA

DRAMA

DRAMA HAPPY OF THE END

EXISTING IPs

DOCS & FACTUAL

SHAPERS OF TOMORROW

Back for a second season, the series cast a spotlight on scientists, engineers, architects, and educators from across the globe, working together to shape a brighter and sustainable future. From groundbreaking discoveries to innovative technologies, each episode focusses on one specific theme, as individuals share their drive and progress in their respective professional fields.

COMPANY: ONLY DISTRIB

ANIMATION | Pre-school CHUBI’S ADVENTURE

Seven-month-old Chubi, an abandoned cat who doesn’t understand human language, is adopted by a family and becomes a companion to siblings, Min-song and Ji-wan. As Chubi observes their daily lives, he decides to take on the role of caring for the family, attempting to tame them just as he would fellow cats. Through his unique perspective and feline instincts, Chubi brings humour and warmth to his new human family.

COMPANY: PIXTREND INC

DOCS & FACTUAL 52 DOCUMENTARY

Spanning diverse stories from around the world, this lifestyle series connects audiences to the global community through captivating humaninterest narratives. With striking visuals and exceptional storytelling, it introduces viewers to new places and cultures, empowering them to engage with the world in fresh and meaningful ways.

COMPANY: U.S. AGENCY FOR GLOBAL MEDIA