iQiyi Says Deletion of LGBTQ Series in Singapore Is Temporary

Rebecca Souw TITLE: Behind The Scenes For Singapore-Korea Co-Production “Ajoomma” And Its Journey Ahead Post-Busan The past few weeks have gone by in a blur for Singapore-Korean co-produced comedy film “Ajoomma.” In a short span, it had a world premiere at the 27th Busan International Film Festival, earned four Golden Horse nominations including best actress, best new director, best original screenplay and best supporting actor. And Singapore has selected the film as itOscars contender. But it took seven years to get his far. At a Busan workshop on Saturday, first-time director He Shuming, co-founder of Giraffe Pictures and the film’s executive producer Anthony Chen and co-producer Lee Joon-han discussed the how the film came to life. “Ajoomma: The Curious Case Study of a Singaporean-Korean Co-production” was presented by mylab at the Asian Contents & Film Market.

Naman Ramachandran Singapore’s Momo Film Co has boarded a raft of projects, it was revealed on the opening day of the Busan Asian Contents & Film Market on Saturday. Momo, in which Blue Ant Media’s Beach House Pictures has a majority stake, was founded in 2018 by writer-director Kris Ong (“Sunday”) and Tan Si En, who is a co-producer on Busan and Locarno title “Arnold is a Model Student.” Tan has boarded “Andragogy” by Wregas Bhanuteja (Cannes winner “Prenjak,” Busan 2021 title “Photocopier”) as a co-producer. The film will follow Prani, a middle-aged schoolteacher, whose angry video goes viral and she gets trolled online. Adi Ekatama is producing for Indonesia’s Rekata Studio (“Photocopier”).

Rebecca Souw Along with “Return to Seoul” and Kore-eda Hirokazu’s “Broker,” Singaporean comedy film “Ajoomma” joins a growing list of recent foreign movies set in Korea or probing contemporary Korean culture.  “Ajoomma,” which premieres at the upcoming Busan International Film Festival on Friday in the New Currents competition section, tells the story of stereotypical Singaporean middle–aged woman (or “auntie”). Her obsession with Korean TV dramas leads her to visit Korea for the first time and as a result, embarks on a journey of self-discovery. 

Patrick Frater Asia Bureau Chief Projects starring Donnie Yen and Zhang Ziyi are among the independently produced TV series to be launched on the sidelines of this week’s Busan International Film Festival. The company responsible is Changin’ Pictures, a would-be studio being hatched by Hong Kong-based film director and producer Peter Chan Ho-sun. Propelled by the growing recognition of Asian talent and the worldwide distribution potential of multinational SVOD platforms, Changin’ Pictures aims to be a powerhouse production hub suppling premium drama content to streaming players. The company has raised very substantial finance from Asian sources and aims to develop and produce series which it will pitch and license to the platforms, without recourse to the OTT companies’ production funding, greenlighting and editorial constraints.

Patrick Frater Asia Bureau Chief Fresh from a chaotic Singapore Grand Prix on Sunday, TV coverage of Formula One motor racing is set to shift broadcasting partner in Asia-Pacific. Sports Business reports that pay-TV broadcaster beIN Sports is finalizing a multi-year deal beginning in 2023 reaching across most of its Asia-Pacific footprint, but excluding Australia, where Foxtel recently renewed its deal, and New Zealand.

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.

Naman Ramachandran Following its launch earlier this month in Malaysia, streamer Aha is set to bow in Singapore and the Middle East. The service, currently available in the Telugu and Tamil languages, will also begin offering Malayalam-language content with an eye on the Middle East expansion, where a migrant population that speaks the language abounds. Operated by Arha Media and Broadcasting, the Telugu-language service began in Jan. 2020 and the Tamil service followed in February this year. Malaysia, where there is a large Tamil-speaking population, was a logical next step, with four originals by local filmmakers in Malaysian Tamil, where the inflexions are slightly different from the Tamil spoken in India. Singapore, which also has a significant Tamil population, will follow.

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.

Premier League football could go D2C in Asia at some point in the coming years, according to Richard Masters, CEO of one of the world’s most lucrative sports leagues.

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.