Taiwan's Expanding Presence at Hong Kong FilMart

Taiwan is making a notable impact at the Hong Kong FilMart, where the Taiwan Pavilion is hosting 106 companies that are showcasing 243 titles across various genres, including film, television, and cross-platform projects. This initiative reflects Taiwan's growing ambitions in international co-production and global distribution. The pavilion features a mix of festival-driven films, commercial genre projects, and international television collaborations, highlighting the diversity of Taiwan’s screen sector as producers seek buyers and partners across Asia and beyond.

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Among the companies participating is Hope Content Marketing, which is promoting several titles, including “Haru and Tae” and “That Burning House.” Both films premiered in the Critics’ Picks competition at the 2025 Tallinn Black Nights Film Festival and are set for a private market screening at FilMart, with a release date in Taiwan scheduled for May 29. Additionally, Hope Content is spotlighting “Poetries From Bookstore: Somewhere I Belong,” which had a successful European premiere at the International Film Festival Rotterdam.

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Taiwan's Studio76 is presenting a multi-genre slate that includes youth fantasy, family drama, and horror franchise development. Noteworthy projects include “Points Up,” a youth fantasy feature adapted from a popular novel, and “A Promise to Keep,” a family drama set in an orphanage. The studio is also developing “Demon of the East,” a regional horror franchise inspired by Asian folklore, with its first installment, “The Black Condo,” set to begin production in May 2026.

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On the television front, Koko Entertainment is showcasing projects like “The Empty Stomach Dinner,” a live-action series adapted from a popular LINE Webtoon, and “Believe in You,” which explores Taiwan’s temple culture. Ksana Films Co. is also presenting “The Great Tipsy 1980s,” a time-travel mystery series based on Taiwan’s first immersive theater production.

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Sue Wang, chair of the Taiwan Creative Content Agency (TAICCA), emphasized the importance of FilMart for Taiwanese projects, stating, “Many projects, films and TV series gain valuable exposure at FilMart and the chance to be discovered by international festivals.” Wang noted that the market serves as a crucial starting point for international engagement, aiming to build market traction and attract interest from global partners.

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The Taiwan Pavilion is supported by the Bureau of Audiovisual and Music Industry Development, which provides a platform for showcasing Taiwanese creative talent on the international stage.

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While the pavilion's efforts are largely seen as positive, some industry observers express concerns about the sustainability of Taiwan's film and television projects in the competitive international market. Critics argue that without substantial investment and strategic partnerships, the long-term impact of these initiatives may be limited.

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“Many projects, films and TV series gain valuable exposure at FilMart and the chance to be discovered by international festivals, which can lead to future selections and wider global recognition,” — Sue Wang, Chair, Taiwan Creative Content Agency

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“Through the Creative Content Development Program (CCDP) and Taiwan’s International Co-Funding Program 2.0 (TICP 2.0), TAICCA participates in projects as an investor rather than a grantor.” — Sue Wang, Chair, Taiwan Creative Content Agency

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