Cinema at Sea Features Media Partners Special Reports

The Evolving Landscape of Asian Cinema: Festivals, Markets, and Filmmaking Challenges

Lorna Tee and Gugi Gumilang in Okinawa
Lorna Tee and Gugi Gumilang shed light to the current landscape of Asian film production, promotion and festival selection

The Asian film industry is undergoing a significant transformation, with an increasing number of projects, competitive selection processes, and evolving trends in both documentary and fiction storytelling. This shift is being driven by dedicated industry professionals working to connect Asian filmmakers, nurture emerging talent, and create opportunities for international exposure. Various networks and markets are shaping the future of Asian cinema, ensuring that filmmakers have the resources and platforms necessary to reach global audiences.

Strengthening Asian Film Networks

A key initiative in this movement is the Asian Film Alliance Network, which unites government film agencies from Malaysia, Singapore, Taiwan, Indonesia, the Philippines, Korea, and Mongolia, with Thailand set to join soon. The goal is to foster inter-Asian collaboration similar to the European model, promoting a unified cinematic identity and encouraging cross-border storytelling. The increasing presence of Asian films on the international stage has created a demand for more structured support systems that allow for artistic and financial sustainability.

Investment and Market Growth

South Korea continues to be a major player in Asian cinema, with companies like Barunson E&A (producers of Parasite) expanding investments in non-Korean films. In 2023, they supported three Indonesian films and one Vietnamese film, including “Don’t Cry, Butterfly”, which premiered at Venice. Meanwhile, Indonesia’s rapidly growing film market has positioned the JAFF Market in Yogyakarta as a vital platform for emerging filmmakers. Similarly, entities such as the Taipei Film Fund and Singapore Media Festival are gaining traction as hubs for financing and distributing Asian cinema.

The Competitive Nature of Film Funding

Securing film funding is a rigorous process, with thousands of applicants competing for limited resources. Major funding bodies such as Hubert Bals Fund, Purin Pictures, IMDA Singapore, and IDFA Bertha Fund are highly sought after. Beyond a strong script, funders assess the entire package, including the filmmaker’s experience, producer credentials, and project feasibility. New directors must showcase potential through a solid portfolio, whether in short films, assistant directing, or technical roles like editing or cinematography.

Additionally, private investors and crowdfunding have become alternative means of securing financial backing. Platforms such as Kickstarter and Patreon have been utilized by independent Asian filmmakers to finance their projects when traditional funding routes prove inaccessible.

Navigating the Festival Selection Process

Film festivals receive thousands of submissions each year, making the selection process highly competitive. Festivals such as Berlinale, Hot Docs, and Cannes are inundated with entries—Berlinale, for instance, receives thousands submissions, with something similar taking place in Hot Docs with documentaries annually. Festival programmers typically watch 400-450 films within a few months to make their selections.

To ensure fairness, programmers employ various strategies:

  • Assigning films based on thematic expertise (e.g., social justice, LGBTQ, environmental issues).
  • Requiring multiple programmers to champion a film for selection.
  • Considering practical factors such as runtime and available screening slots.
  • Balancing diversity in storytelling, genre representation, and regional inclusion.

What Sets a Film Apart?

With such high competition, a film must exhibit a distinctive voice, strong narrative execution, and a relevant social or cultural perspective. In the documentary sphere, ethical storytelling is essential—filmmakers must have a deep connection to their subject to ensure responsible representation. Political dynamics can also impact selection, particularly for films from regions experiencing conflict, such as Israel-Palestine or Russia.

For fiction films, originality is key. While major festivals have embraced diverse genres—including horror, action, and experimental films—craftsmanship and innovation remain crucial. A fresh take on a familiar genre or a unique cinematic perspective can enhance a film’s festival prospects. Additionally, festival programmers often look for films that challenge conventions, present underrepresented narratives, or showcase new approaches to cinematography and storytelling.

The Role of Industry Connections

While artistic merit is fundamental, relationships with sales agents, festival programmers, and industry stakeholders also influence a film’s success. Established sales agents often have multiple films in top festivals due to their longstanding ties with organizers. Filmmakers must actively engage in industry events, strategically network, and build long-term professional relationships to improve their chances of selection. Programs such as Sundance’s Documentary Fund, Berlinale Talents, and SEAFIC (Southeast Asian Fiction Film Lab) provide crucial networking opportunities for filmmakers looking to break into the festival circuit.

The Future of Asian Cinema

As the number of films produced continues to rise, competition for festival slots and funding remains intense. However, by prioritizing innovation, authenticity, and strategic industry engagement, Asian filmmakers can strengthen their presence on the global stage. With growing initiatives like the Asian Film Alliance Network and increasing cross-border collaborations, the future of Asian cinema looks promising, driven by a collective vision for creative and cultural expansion. Festivals, funding bodies, and new media platforms will continue to play a crucial role in shaping the industry, ensuring that diverse voices from Asia are heard and appreciated worldwide.

About the author

Panos Kotzathanasis

Panagiotis (Panos) Kotzathanasis is a film critic and reviewer, specialized in Asian Cinema. He is the owner and administrator of Asian Movie Pulse, one of the biggest portals dealing with Asian cinema. He is a frequent writer in Hancinema, Taste of Cinema, and his texts can be found in a number of other publications including SIRP in Estonia, Film.sk in Slovakia, Asian Dialogue in the UK, Cinefil in Japan and Filmbuff in India.

Since 2019, he cooperates with Thessaloniki Cinematheque in Greece, curating various tributes to Asian cinema. He has participated, with video recordings and text, on a number of Asian movie releases, for Spectrum, Dekanalog and Error 4444. He has taken part as an expert on the Erasmus+ program, “Asian Cinema Education”, on the Asian Cinema Education International Journalism and Film Criticism Course.

Apart from a member of FIPRESCI and the Greek Cinema Critics Association, he is also a member of NETPAC, the Hellenic Film Academy and the Online Film Critics Association.

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