Hong Kong Disneyland Theme Park Reduces Losses, Awaits ‘Frozen’ Land

A post shared by Stassi Schroeder Clark (@stassischroeder)This past spring, Stassi and husband Beau Clark announced on Instagram that they were expecting a second child."Secrets stress me out," she wrote on social media whole debuting her tiny-at-the-time baby bump. "Baby #2, I love you so much already."In April, the couple announced that they would be welcoming a boy into their fold. "I knew the whole entire time that we were having a boy," she said on her  "The Good The Bad The Baby" podcast in March. "I kept saying it.

Patrick Frater Asia Bureau Chief The 25th Shanghai International Film Festival, June 9 to 18, has unveiled the titles in contention for awards in its four main feature-length sections: main competition, Asian New Talent, Animation film and documentary. These are eligible for the festival’s prestigious Golden Goblet Awards, winners of which will be announced at the Shanghai Grand Theater on the evening of June 17. While SIFF remains the only mainland China festival to be accredited as a so-called A-list event by the International Federation of Film Producers (FIAPF), its selections are largely separate and distinct from those at other major international festivals.

Patrick Frater Asia Bureau Chief “Fast X” predictably won a second weekend on top of the mainland China box office, driving its total past the $100 million mark. But the disappointing start for Disney’s live-action “The Little Mermaid” was the bigger talking point. “Fast X” earned $17.6 million in China according to data from consultancy Artisan Gateway. That was a 66% drop compared with its opening weekend, but still gave the film a $110 million cumulative after 12 days and has caused estimates to be further revised upwards. Ticketing agency Maoyan is now forecasting that the film will finish with RMB880 million ($126 million), having previously predicted RMB728 million ($104 million), and then RMB840 million.

Patrick Frater Asia Bureau Chief The Sundance Film Festival Asia, an offshoot of the Sundance Institute, is to set up camp in Taipei, Taiwan this summer. The three-day mini festival will run Aug. 18-20 and be put together in association with local organizer G2Go Entertainment. The event will showcase a handful of films curated by the Sundance Institute and host a short film competition that is open only to Taiwanese productions. Panel discussions will accompany the festival to foster artistic exchange, providing opportunities for the Taiwan film industry to connect with Sundance’s executive team, and elevating Taiwan’s image and presence in the global independent film industry. 

Patrick Frater Asia Bureau Chief Magic Fair, a Miami-Paris based indie sales company and Hong Kong- and Paris-based All Rights Entertainment have launched rights sales on upcoming feature animation “Pigsy,” directed by Chiu Li-Wei (“Barkley”) during the Cannes Film Festival’s Marche du Film. The film is a reimagining of the classic Chinese tale “Journey to the West.” The story follows a self-absorbed and lazy pig on a journey to lasting happiness. Set in a distant future, the film sees Pigsy embark on a deceitful quest for a better life, only to find that true happiness may be closer than he thinks. The production has recently added Taiwanese stars Greg Han, Liu Kuan-Ting, Harlem Yu, Tuo Tsung-Hua, Chung Hsin-Ling, Ivy Shao, Waa Wei and K.R. Bros. The film is to be completed in time for release at Chinese New Year in early 2024. Production is by the Netherland’s studio Submarine (“Where is Anne Frank,” TV series “Undone” Season 2, “Apollo 10 ½ : A Space Age Childhood”) with Taiwan’s Greener Grass (“GrX”) and Studio2 (“Barkley,” “Get the Hell Out,” “The Tag-Along”).

With summer fast approaching, many people are starting to think about holidays. While some opt for an all inclusive resort where they can relax all day on a beach or by a pool, others prefer a city break and the chance to get out and explore the local area.

Patrick Frater Asia Bureau Chief Mainland Chinese star Wang Luodan (“The Dead End,” “Struggle,” “The Continent”) and Hong Kong-born Bosco Wong (“Lives of Omission,” “Triumph In The Skies”) head the cast of “My Dearest Stranger.” The high-end suspense drama series is a production fronted by mainland Chinese distributor-producer Hishow Entertainment, which announced the production at the Cannes Market, adjacent to the Cannes Film Festival in France. Based on the best-selling novel “Secret Love,” by Fan Shu and adapted by renowned screenwriter Cao Xueping (“Game Changer”), “My Dearest Stranger” tells a compelling story of Yu Xiao, a housewife who realizes her seemingly perfect husband may have a dark side. Yu decides to cooperate with policeman Song Cheng to find out the truth, while trying to keep her own secrets from the world.

Patrick Frater Asia Bureau Chief All Rights Entertainment, the Paris-, Hong Kong- and Los Angeles based international sales company, is launching sales at the Cannes Market (Marché du Film) for “The Proud Princess.” The picture is an animation film based on the fairy tale book “Punished Pride,” written by Bozena Nemcova. Directed by Borivoj Zeman and starring Alena Vranova and Vladimir Raz, a 1952 live-action adaptation of the book is one of the most-watched Czech films of all time. The new adaptation is directed by Radek Beran (“The Little Man”) and David Lisy (“Spy Cat”). Production is by Luminar Film with Animation is handled by PFX, the Prague-based studio behind “Diplodokus,” “The Websters” and “Marnie’s World,” and is to be completed in the third quarter of 2024. Czech theatrical distribution is set to be handled by CinemArt.

Seoul-based sales agent Finecut has sold Hong Sangsoo’s In Our Day to France’s Capricci, Spain’s L’Atalante Cinema and Ama Films for Greece. 

Patrick Frater Asia Bureau Chief “In Our Day,” the film by South Korean auteur Hong Sang-soo which closes the Directors’ Fortnight section of the Cannes film festival, has seen distributors in multiple territories move early to strike rights deals. French rights were picked up by Capricci), Spanish rights by L’Atalante Cinema and Greek rights by Ama Films. The film has its official premiere on May 25. Seoul-based Finecut has long been the sales agent for Hong’s plentiful output. In addition to the deals on “In Our Day,” Finecut signed agreements with L’Atalante, with France’s Ariona Films and Taiwan’s Cola Films for “In Water,” Hong’s first film of 2023 which premiered in the Encounters section in Berlin in February. The film was previously sold to Cinema Guild for North America.

Patrick Frater Asia Bureau Chief Wilfredo Manalang, who was one of the producers of last year’s Cannes’ Japanese hit “Plan 75,” has come on board Vietnamese film project “Don’t Cry, Butterfly.” Manalang (aka Will Fredo) and partners in his Philippines-based Fusee consortium will join as an executive producer. Written and to be directed by Duong Dieu Linh, “Don’t Cry, Butterfly” follows a Vietnamese housewife who finds out that her husband is cheating on her. Instead of confronting him, she uses voodoo on him so he falls back in love with her. Production of “Don’t Cry Butterfly” is by Tan Si En at Singapore-based Momo Film Co. The company was founded in 2018 by Tan and writer-director Kris Ong. In 2021, Beach House Pictures, part of Canada’s Blue Ant Media, acquired a majority stake in Momo.

Patrick Frater Asia Bureau Chief Amanda Nell Eu’s “Tiger Stripes,” which had its premiere this week in Cannes Film Festival’s Critics’ Week, is being celebrated as a punchy female-driven debut feature and as the first film by a Malaysian woman director in any section Cannes. The story focuses on a small group of 11 or 12-year-old girls. When one of the friends enters puberty she finds her body changing in unexpected ways. Relations with her friends and family start morphing too. Eu’s finished film straddles the metaphorical drama and body horror genres. “Tiger Stripes” is also a triumph for the now highly-developed global network of project markets, talent development programs, script and production workshops (often labelled as ‘labs’) and grant schemes. These are intended to encourage diversity and nurture film-making talent in countries where that is a rarity or where commercial films crowd out more experimental art-house titles.

Patrick Frater Asia Bureau Chief Alibaba, China’s e-commerce and entertainment giant, announced net profits of $10.6 billion for its financial year to the end of March, a year-on-year increase of 39%. The rebound was achieved on revenues of $126 billion that were up by just 2%. Using the group’s preferred non-GAAP measure to exclude extraordinary items, net income rose by a smaller 4%, but weighed in at over $20 billion. The importance of the overall figures has been rendered moot by Alibaba’s end of March announcement that it plans to transform itself from an operating company into a holding company, by allowing each of its six divisions to go their own way.

Patrick Frater Asia Bureau Chief Returning as an in-person event after cancelation last year, the Shanghai International Film Festival has set out an agenda with a clear focus on China. The festival (June 9-16) will celebrate the 10th anniversary of the Belt and Road Initiative, China’s economic outreach and development program. With a series of press conferences and film culture roundtables, the SIFF’s Belt and Road Film Week will “bring together old friends of the alliance from previous years and new friends made this year [..] and announce an action plan for the future.”

Walt Disney CFO Christine McCarthy nudged investors to discard a few narratives that emerged from the latest earnings: that Disney parks growth may be unsustainable and that the company is shedding subscribers and slashing streaming content.

K.J. Yossman Bringing dreams to life is the fastest growing frontier in entertainment. Or if not exactly dreams, then movies, shows, even toys (see: the new World of Barbie immersive experience, which opened in Santa Monica last month) and music (RIP the short-lived Britney Spears-themed The Zone, which launched in LA just two months before the global pandemic hit). The official name for these pop culture encounters is “location-based entertainment” (or LBE for those who work in the field). And as Merlin Entertainments CEO Scott O’Neil and Sony Pictures partnerships EVP Jeffrey Godsick told Variety ahead of the official opening of World of Jumanji in the U.K. this week, with the developments in technology, licensing and audience appetite for IP there’s never been a better moment to be in the LBE business.

Throughout its long history, Disney has released hundreds of family movies. Naturally, few of them have strayed into genuinely spooky territory.

Patrick Frater Asia Bureau Chief Net profits at Tencent Music Entertainment, China’s largest digital music operation, grew by 89% in the first quarter of the new year, hitting RMB1.15 billion ($167 million), even as revenue progressed by only 5% to RMB7.0 billion ($1.02 billion). The group, which is backed by Chinese tech and entertainment giant Tencent and has stock market listings on the New York Stock Exchange and in Hong Kong, controls large equity stakes in Spotify and (in a consortium with Tencent) Universal Music Group. Its own music operations divide loosely into two clusters: mass market music streaming, with paid-for and free tiers; and “social entertainment,” including karaoke and other derivative products.

Throughout its long history, Disney has released hundreds of family movies. Naturally, few of them have strayed into genuinely spooky territory.

Patrick Frater Asia Bureau Chief Funding from Singaporean state sources is involved in two features that make their debut at the Cannes Film Festival this month. A third film, “The Breaking Ice,” is directed by Singapore-born filmmaker Anthony Chen. “We are absolutely thrilled that we have the most number of Made with Singapore films debuting in Cannes this year,” said Justin Ang, assistant chief executive of media, innovation, communications and marketing at Singapore’s InfoComm Media Development Authority.Malaysian-produced “Tiger Stripes,” which will play in the Critics’ Week section, and Vietnamese-made “Inside the Yellow Cocoon Shell,” which will play in the Directors’ Fortnight section, both received cash injections from the Southeast Asia Co-Production Grant under the ‘Media Talent Progression Programme,’ which is backed by the Singapore Film Commission and the IMDA.