Hong Kong’s annual industry platform Filmart celebrates its 30th edition from March 17-20. Before we delve into how this year’s event is planned to help shape the future of global entertainment, it’s worth considering where things stood when it debuted in 1997 — and how much has changed since then.
Filmart was launched in June 1997, just weeks before Hong Kong returned to Chinese sovereignty on July 1. There was palpable uncertainty – both locally and among international guests – about what the future holds for the city and its film industry, which has been a key driver of Hong Kong’s creative and economic growth for decades.
By the late 1990s, box office numbers and domestic productions were declining, and the “Hollywood East” tag was beginning to fade. But regulators at the Hong Kong Trade and Development Board saw an opportunity: positioning Hong Kong as a “link” between Chinese-language cinema and the world. The timing proved right. Chinese cinema soon began to expand rapidly, and within 15 years, China had become the second largest film market in the world.
The challenge has been to keep pace, but Filmart has proven to be an early adopter of industry-driving trends such as pan-Asian (and global) co-productions and the rise of streaming platforms.
Today, while content remains central, organizers stress that Filmart has evolved into much more.
“Filmart 2026 celebrates an important moment: 30 years of being Asia’s leading content marketplace, and the fact that it will always continue to develop and grow alongside the industry,” says Candace Yeung, Associate Director of Services Promotion at the Hong Kong Trade Development Council. “Therefore, this is the right time to shift from a content marketplace to a comprehensive platform serving the entire entertainment ecosystem. In order to advance the industry, we will provide players with the latest technologies, strategic partnerships and innovative resources to navigate the evolving landscape and seize new opportunities.
To this end, Filmart 2026 will amplify its focus on AI and emerging trends. PricewaterhouseCoopers expects AI to contribute $15.7 trillion to the global economy by 2030, with media and entertainment accounting for the lion’s share. Young says Filmart “calls on exhibitors and related programming to always stay ahead of the curve” when it comes to this new technology.
This year’s platform will showcase the likes of emerging AI industry players KlingAI, Minimax, Xuanjia Technology and Daogu Culture.
“AI is transforming film and entertainment content production and reshaping the future of storytelling,” says Young. “Reports indicate that the vast majority of films are now using some form of this technology during production. For 2026, we are delving deeper into this world: introducing an AI hub with enhanced programming, along with industry-specific AI training and hands-on workshops, all designed to provide participants with practical knowledge and enhance their capabilities. We want to promote the adoption of AI and foster collaboration between content creators and technology professionals.”
Another example of how Filmart has embraced the evolution of the entertainment industry came with the move – in 2025 – to expand the work of its IP catalog division from simply a place to showcase projects to a place that serves as a physical marketplace for them.
“Fortunately, the response has remained strong – with more than 1,600 IP titles uploaded to the expanded platform, starting primarily with feature films, followed by TV shows and animation,” Young explains. “For 2026, we have further enhanced its functionality by adding advanced filtering options to help users easily identify the production stage of any project they are interested in, as well as to clarify whether they are looking for buyers, investors, distributors or other partners.”
These improvements improve the matchmaking process and make navigation more efficient, enhancing the platform’s function as an important link between creators and international partners, Young says.
Regarding Chinese-language cinema, one trend that has been impossible to escape is the rapid growth of animation, fueled by the global movement. Ni Cha 2 phenomenon, and its now status as the highest-grossing animated film of all time with an estimated $2.2 billion at the global box office.
Filmart will feature a panel discussion on the power of intellectual property in animation that “explores market trends and growth opportunities around the world, with speakers from leading companies including Warner Bros Discovery, CNC, Iconix Co, Ltd. and Fantawild Animation.”
Another panel, “Harnessing Youth Engagement: Ushikatsu, the Therapeutic Economy and the Commercialization of Intellectual Property,” will explore the global obsession with pop culture idols and ushikatsu (fan support culture), along with the health industry and the potential for shared intellectual property. Speakers include representatives from Chinese digital media and marketing leader Feibo Co-Create and gift maker Noodoll.
“We plan to fully enter this evolving world of youth culture, where ushikatsu, the therapeutic economy and the rise of commodity/IP ecosystems are reshaping how young consumers communicate and spend,” says Young. “Brands now have powerful opportunities to tap into these emotional drivers – from building their IPs to expanding their stories into fan-centric worlds and partnering with beloved characters.
By understanding younger generations’ motivations, behaviors and desire for “emotional ownership,” Young says, brands can create more resonant experiences that inspire lasting engagement.
It all goes back to Filmart’s founding mission: to position Hong Kong as a bridge between markets and anticipate where the industry is headed. For Jung, this vision remains central.
“Attendees are encouraged to engage with these trends and explore how they can enhance their businesses and projects,” says Young. “And of course, everyone should take advantage of Hong Kong’s unique position as a link between East and West, mainland China and international markets – Filmart is truly the place to expand our reach across Asia and beyond.”
