Formula One Shifts Gears in Asia-Pacific – Global Bulletin

Patrick Frater Asia Bureau Chief European-Australian firm Flying Bark Productions has been appointed as the animator of the first of three untitled ‘Avatar’ films from Paramount Animation and Nickelodeon Animation. The film series, derived from the “Avatar: The Last Airbender” and “The Legend of Korra “animated series, originally created for Nickelodeon by Bryan Konietzko and Michael DiMartino, was announced earlier this year. The first feature will be directed by Lauren Montgomery, with Bryan Konietzko and Michael DiMartino producing. Flying Bark, which is based in Belgium and has major facilities in Sydney, Australia, describes the film series as “[pushing] the style and boundaries of hybrid animation [..] it will couple traditional 2D animation with substantial CG elements.

Patrick Frater Asia Bureau Chief Chinese filmmaker, Bi Gan, best-known for his single-take feature “Long Day’s Journey Into Night” has seen his “A Short Story” picked up by Kino Lorber for distribution in North America. A fairy tale that follows the relationship between man and cat, the film had its world premiere in competition at the 2022 Cannes Film Festival and now has its North American premiere in the Currents section of the New York Film Festival. Kino Lorber plans to qualify “A Short Story” for the 96th Academy Awards, showing it theatrically nationwide in early 2023 in tandem with a theatrical re-release of “Long Day’s Journey Into Night.” “Kino Lorber rarely acquires short films, but Bi Gan has packed more cinematic delight into the fifteen minutes of ‘A Short Story’ than many feature length films deliver in two hours,” said Kino Lorber SVP Wendy Lidell. The deal was brokered by Les Films du Losange.

Patrick Frater Asia Bureau Chief Novelist Amy Tan and Oscar-winning “Rain Man” screenwriter Ron Bass are on board to deliver a sequel to “The Joy Luck Club,” the 1993 movie that broke new ground for Asian American representation. The new film, “Joy Luck Club 2,” is set up at Ashok Amritraj’s Hyde Park Entertainment Group, with Ashok and Priya Amritraj producing alongside Tan, Bass and Jeff Kleeman. A director hasn’t been announced yet. The original “Joy Luck Club,” directed by Wayne Wang, was an epic, multigenerational saga of Chinese and Chinese-American mothers and daughters, whose histories, stories and lives interweave as they navigate life. Club members included characters played by Tsai Chin, France Nuyen, Lisa Lu and Kieu Chinh. The ensemble cast also included Tamlyn Tomita, Rosalind Chao and Russell Wong.

Patrick Frater Asia Bureau Chief Kamila Andini’s “Before Now and Then” (aka “Nana”) topped the nominations for the Asia Pacific Screen Awards, with nods in four categories including best film and best director. The film, about a gentlewoman’s memories of escaping from a Communist purge, narrowly headed three films with three nominations each: “Poet” (aka “Akyn”) by Kazakhstan’s Darezhan Omirbayev; “This Is What I Remember” (aka “Esimde”) by Kyrgyzstan’s Aktan Arym Kubat; and Philippines director Lav Diaz’s “When The Waves Are Gone” (“Kapag Wala Nang Mga Alon”). APSA casts its net wide, seeking honors for cinematic excellence from 78 countries and territories defined as Asia Pacific. The awards will be presented at a ceremony at HOTA on Australia’s Gold Coast on Nov. 11, 2022.

Patrick Frater Asia Bureau Chief International streaming company Netflix has unveiled six new titles representing its first wide-ranging slate of content from Thailand. Its four films and two series span the comedy, suspense and comedy drama genres and hail from six different local production firms – GMM Studios, International, GDH, Song Sound Productions, Transformation Films, 18 Tanwa and Jungka Bangkok. Significantly, too, they are sourced from established directors or producers. Writer-director Prueksa Amaruji’s dark comedy film “Lost Lotteries” is produced by Ekachai Uekrongtham (“Beautiful Boxer,” “Pleasure Factory”) and will stream from mid-November.

Patrick Frater Asia Bureau Chief “Future Laobans,” a project directed by Maung Sun and produced by Maung Sun and Ma Aeint, claimed the Busan Prize, the top award at the Asian Project Market, on Tuesday. The awards were made at an event held at the Paradise Hotel in Busan’s Haeundae district at the end of three days of quick-fire meetings between producers and directors and an array of potential co-producers, financiers and distributors. Organizers said that they put together 705 such one-on-one meetings. The CJ ENM Award went to Indonesia’ “Gaspar,” to be directed by Yosep Anggi Noen and produced by Yulia Evina Bhara and Cristian Imanueli.

Patrick Frater Asia Bureau Chief Patriotic rescue film “Homecoming” largely dominated the Chinese box office over the latest weekend and brought to a close a deeply-depressed National Day holiday period. “Homecoming” earned $21.5 million between Friday and Sunday to lift its ten-day cumulative to $163 million, according to data from consultancy Artisan Gateway. That score accounted for a 71% share of the weekend’s $30.3 million total. Second-placed film “Ordinary Hero” earned just $2.2 million, giving it a ten-day total of $19.7 million. Previous top-ranking film, “Give Me Five” held on to third place, despite the volley of new releases on either September 30 or October 1. It collected $1.7 million for a cumulative of $60.8 million since release on Sept. 9, 2022.

Patrick Frater Asia Bureau Chief Rithy Panh, director of “Rice People” and “S21 The Khmer Rouge Killing Machine” is an icon of art-house cinema, at once political, unique, and charming. The iconic image may be another of his confections – a palatable work built on uncomfortable facts. On the incomplete evidence of a 50-minute on-stage dialog at the Busan International Film Festival on Sunday, Panh comes across as simultaneously contrarian and principled. A curmudgeonly veteran and yet a filmmaker still curious to learn. “If there were no Khmer Rouge maybe I would not be a filmmaker,” he said of the Communist insurgents, who won the Cambodian civil war in 1975 and whose brutality and atrocities he has spent a lifetime documenting and exposing.

Patrick Frater Asia Bureau Chief Paramount has ordered a series of ‘Taskmaster Australia’ to be produced by Avalon Television with Kevin & Co for Network 10. Set to air in 2023, the show will be hosted by Tom Gleeson and Tom Cashman. The production in Australia joins a growing list of countries with local adaptations of Alex Horne’s BAFTA and National Comedy Award winning “Taskmaster” format. The show involves an all-powerful Taskmaster who, with the help of his loyal assistant, sets out to test the wiles, wit and wisdom of five comedians through a series of strange and surreal challenges.

Patrick Frater Asia Bureau Chief Hong Kong multi-hyphenate Peter Chan Ho-sun is far too intellectual to call himself an “arms dealer,” as Sony Pictures has in casting itself as an unattached supplier to streaming platforms. But politeness and Bob Dylan references aside, Chan’s new company, Changin’ Pictures, aims to become a major independent purveyor of premium Asian TV content for the streamers. The company is using this week’s Busan International Film Festival as its launchpad and will unveil the first five series of its 20-title pan-Asian slate.  Chan’s thesis is that global audiences are hungry for Asian content but have not been able to access it easily under legacy film and TV distribution systems. With streaming making everything accessible everywhere, and audiences no longer balking at subtitles, quality Asian drama can and will travel.

Patrick Frater Asia Bureau Chief KC Global Media, which operates a string of channels across Asia including AXN, anime channel Animax, South Korea’s ONE and Japanese entertainment channel GEM, has unveiled its first script development of a sci-fi live action series, “Jonesy.” The show is a sci-fi fantasy thriller action-comedy series set in the year 2029, with eight episodes of 15-20 minutes each. Production will be with Singapore-based production agency, Monochromatic Pictures, while development is supported through the Capability Partnership Programme (CPP) operated by the country’s Infocomm Media Development Authority. The show sees an internet crazy shut-in man driven to extremes by violent weather systems which carry with them supernatural beasts intent on devouring humankind. With his imaginary friend, the man learns to navigate the new world alone, confront his fears, battle colorful foes, and become humanity’s new hope when he kills one of the monsters during a livestream.

Patrick Frater Asia Bureau Chief Gerhard Zeiler, president of International at Warner Bros. Discovery, has moved to reassure the Asia-Pacific region that it is an integral part of the group’s post-merger strategy. “Don’t believe that we don’t know how important Asia is for our company, he said Thursday. Zeiler was speaking at the APOS Convention in Singapore on Thursday. He cited examples of theatrical success for “Batman” and “Fantastic Beasts” in the region and investment in local production in the region. The reassurance may have been necessary following post-merger announcements that proposed changes in North America, Latin America and Europe ahead of Asia – despite recent external data showing Asia-Pacific as one of the world’s fastest growth regions.

Patrick Frater Asia Bureau Chief Soi Cheang Pou-soi’s crime thriller “Limbo” is the front-runner in the Golden Horse Film Awards, with 14 nominations. It is narrowly ahead of Taiwan-produced “Coo-Coo 043” and “Incantation,” which both have 13 nominations. All three films compete for the best feature award, best director, supporting actor, art direction, makeup and costume design, original film score, film editing and sound effects. The Taiwan-based Golden Horse Awards have long been considered as the most prestigious prize race for Chinese language films, but they have been boycotted by mainland Chinese films and filmmakers for the past three years on the order of mainland Chinese authorities. This followed a pro-Taiwan independence speech given from the stage in 2018 by a local prize winner.

Patrick Frater Asia Bureau Chief Further media industry upheaval is on the cards, as the world exits from COVID and heads towards possible recession, warned financier and media advisor Joe Ravitch. “A lot of trends are now being reversed,” said Ravitch, partner and co-founder of Raine group. He was speaking at the APOS conference in Singapore, where U.S.-based Raine has recently opened a local office. Where the pandemic kept people indoors and online, since the loosening of health restrictions theatrical cinema, theme parks, concerts, gyms and in-person sport and music events have rebounded. People’s online behavior has also been altered.

Patrick Frater Asia Bureau Chief Asian streaming firm Viu is approaching profitability by staying its lane and sticking with the business principles that have made it a regional success story – Asian content, AVOD and SVOD models under one roof, and resistance to over-expansion. “The industry for streaming has matured very rapidly [in part due to COVID],” said CEO Janice Lee, speaking Wednesday at the APOS convention in Singapore. “But what makes Asia different is that Asia has not yet reached mature market status.” After some six years in business Viu is now EBITDA positive. “We always been focused on monetization. Our AVOD-SVOD mix remains the sustainable model,” said Lee, who also confirmed the company has been able to raise subscription prices in selected markets. The launch of advertising-supported models is now a direction being embraced by the sector giants Netflix and Disney.

Patrick Frater Asia Bureau Chief Kevin Mayer says that the investment strategy at Candle Media, the hard-charging entertainment startup that he heads with Tom Staggs, is product of his career time at Disney and TikTok. While those two companies are behemoths and Candle Media a newcomer, the claim is not as outlandish as it seems. At Disney, Mayer was largely responsible the launch of the direct-to-consumer streaming businesses that became Disney+. And as Disney, Pixar and other group content was made exclusive and contained within a walled garden, it stoked demand for premium independently-made content. Candle Media sets its sights on becoming just such a supplier.

Patrick Frater Asia Bureau Chief Online video is taking up the role of growth engine for the Asia Pacific video industry as free-TV in the region moves into long-term decline, says a new report. The video sector is forecast to remain robust this year, but recession could deal a blow to sector performance in 2023. Video sector revenues – defined as subscription fees and advertising generated by free TV, pay-TV and online video platforms – in 14 Asia-Pacific markets are forecast to will grow by 6.4% in the current year to reach $143 billion, according to Media Partners Asia.

Patrick Frater Asia Bureau Chief Singapore-based production group Beach House Pictures has teamed up with executive Raghav Khanna to launch new unit Riverland Entertainment in Mumbai, India. The newly-formed production company will develop a slate of unscripted series and documentaries from India. It will do so by partnering with local Indian talent to create content intended for global and Indian audiences, while also leveraging Beach House Pictures’ international expertise and reach, and with access to Beach House’s post-production facility, Space Lion Studios. Khanna, who is a former head of Netflix’s documentary production in Asia-Pacific, is set as MD of the new operation. He will work closely with Beach House Pictures founders Donovan Chan and Jocelyn Little. 

Patrick Frater Asia Bureau Chief Veteran film executive Kylie Munnich has joined leading Australian independent producer Goalpost Pictures as its CEO. She takes up the newly-created position from Nov. 1, 2022, after recently departing from Screen Queensland, which she headed for the past three years. Prior to Screen Queensland, Kylie worked as a scripted sales and co-production executive for Seven Studios, Australia. Before that, she was senior VP for distribution Asia-Pacific for Sonar Entertainment overseeing sales for premium drama series such as Tom Hardy’s “Taboo” and Pierce Brosnan’s “The Son.”

Patrick Frater Asia Bureau Chief China recorded an unchanged top five films and its weakest box office weekend since Chinese New Year. Nationwide gross box office was just $18.6 million. Comedy drama film “Give Me Five” held on to the top spot for the third week, with a weekend score of $6.3 million (RMB43.3 million), according to data from consultancy Artisan Gateway. It now has a cumulative of $46.4 million since release on Sept. 9, 2022. The film is the story of a young man who is helping his father rediscover his lost memories. As he does so, he is transported back in time and accidentally alters his parent’s pasts. That means he must reunite the pair or risk never being born. It stars Ma Li Chang Yuan and Wei Xiang and is directed by Zhang Luan.