Korea’s CJ ENM Puts Emphasis on TV Content at Revived FilMart

Mubi is adding over 50 features from the Sony Pictures’ library to its U.S. streaming service. The mix of studio and arthouse fare includes Steven Spielberg’s Close Encounters of the Third Kind, Martin Scorsese’s The Age of Innocence, The Last Picture Show by Peter Bogdanovich and films from Wes Anderson, Pedro Almodovar and Guillermo Del Toro.

Patrick Frater Asia Bureau Chief Japanese animation film “Suzume” made just shy of $50 million on its opening weekend in mainland Chinese theaters. Data from consultancy Artisan Gateway, shows “Suzume” grabbing the top spot at the box office with $49.6 million (RMB342 million) between Friday and Sunday. That is the biggest opening score by any film this year outside of the Chinese New Year holiday week in late January. The next best is “Ant-Man and the Wasp: Quantumania” which opened with $19.4 million in mid-February. Directed by Shinkai Makoto, “Suzume” was a hit in Japan where it was released late last year and has remained on screens for a $105 million total. It played in February at the Berlin Film Festival, where it came away largely empty-handed, but has subsequently performed strongly in the Asian territories where it has released. (In South Korea, where it is now the second highest grossing film released in 2023, its third weekend is its strongest to date.)

Patrick Frater Asia Bureau Chief Hit Japanese animation “Suzume” improved its box office performance in its third week of release in South Korea and remained far ahead of all competing titles. “Suzume” earned $6.06 million over the weekend between Friday and Sunday, a 7% increase on its previous weekend, itself a strong hold that almost equalled its opening session. Data is sourced from Kobis, the tracking service operated by the Korean Film Council (Kofic). The film, which has been a huge hit in Japan and some other Asian territories, enjoyed a 66% share of the entire Korean cinema box office over the most recent weekend and expanded its cumulative haul to $23.9 million after 19 days on release.

Tamar Herman South Korean alt-rocker Loren (stylized LØREN) has written songs for Blackpink and G-Dragon, appeared at South By Southwest and recently partnered with 88Rising, leading to a performance at the influential collective’s summertime Head in the Clouds festival — all before he released his first album. Out Friday (March 24), the EP “Put Up a Fight” is the result of a years-long effort while working at the Black Label, a prominent South Korean record company associated with Blackpink’s home YG Entertainment. According to the singer-songwriter, a full-length follow-up is almost finished.  Loren, born Lee Seung-joo, hopes to ingest a bit of punk and grunge to South Korea’s rock scene, and “Put Up a Fight” is his call to arms to like-minded music fans. Even amid waning popularity worldwide, and especially in South Korea where only the occasional indie or pop-rock band makes registers a blip, Loren is undeterred. 

Patrick Frater Asia Bureau Chief Leading South Korean actor Yoo Ah-in, star of “Burning,” “The Throne” and Netflix series “Hellbound,” must report to the police on Friday in connection with the alleged use of a variety of drugs. Allegations of Yoo’s drug use emerged a month ago and he has previously spoken with authorities. The Yonhap news agency now specifies that he will be considered as a criminal suspect when he presents himself to the Seoul Metropolitan Police Agency on Friday. It is unclear whether Yoo will be formally arrested at that time. Yoo became a person of interest in early February after the Ministry of Food and Drug Safety revealed that he had bought suspicious quantities of the sedative Propofol in a series of purchases starting in 2021. Propofol is a strong sedative that can also be used as an anesthetic. The authorities have looked into several doctors’ offices and clinics in Seoul that may have administered the drug.

Patrick Frater Asia Bureau Chief Japanese animation “Suzume” retained the top spot at the South Korean box office for a second weekend, far outstripping holdover titles and newcomers including “Shazam! Fury of the Gods.” On its second weekend of release, “Suzume” earned $5.65 million, just a small fraction below its opening weekend score of $5.71 million. Underlining its dominance, the film increased its market share from 60% previously to 62%. After 12 days of release, the film has accumulated $15.8 million, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic).

Although Filmart felt quiet on its first morning, with many attendees glued to their phones watching the Oscars, it soon turned into a reasonably vibrant market, with sales companies locked in back-to-back meetings, new project announcements and a few star appearances to liven up proceedings. 

Patrick Frater Asia Bureau Chief The Hong Kong Trade Development Council said Thursday that 7,300 executives from 41 countries had attended its FilMart and Entertainment Pulse events this week (March 13-16). “The revived physical marketplace was as vibrant and active as in the past,” organizers claimed. In 2019, the last year that FilMart was held as an in-person event, the TDC reported “close to 9,000 visitors from 52 countries and regions.” For 2023, it reported “over 700 exhibitors from 30 countries and regions,” including a record Mainland China exhibitor tally exceeding 330. Those numbers compared with 888 exhibitors from 35 countries and regions in 2019, including 264 exhibitors from China.

Marcus Lim Chinese TV producer Linmon Media struck a decidedly international tone during the presentation of its 2023-24 slate at FilMart, with presenters speaking about their Chinese-language projects in only English and Korean, and handing out sleek project literature in multiple languages. Apart from a slate of romance, medical and crime dramas targeted at domestic audiences, the studio is actively remaking its hit female-led contemporary drama “Nothing but Thirty” in Thailand, Indonesia and Hong Kong, having previously licensed the remake rights to Korean pay TV network JTBC. The drama, which follows the lives of three women as they transition from their 20s into their 30s, is emblematic of the Linmon slate, which is heavy on female-centric contemporary romance dramas.

Patrick Frater Asia Bureau Chief Hong Kong-based indie sales agent Good Move Media has added Japanese music drama “Plastic” to its FilMart slate. The film is directed by Miyazaki Daisuke, the Japanese helmer behind “Yamato (California),” which had festival play in 2016, and 2019 slacker youth title “Tourism” in 2019. The new picture is the story of teenagers Juna and Ibuki, who set out to find the psychedelic rock band Exne Kedy. Exne Kedy is a fictional creation from musician Ide Kensuke, who previously released punky album “Kensuke Ide With His Mothership — Contact From Exne Kedy and the Poltergeists,” but the band is actually credited as performing and providing part of the music track in the film. “Plastic” is recently completed and headed for a theatrical release in Japan in July.

Patrick Frater Asia Bureau Chief The Far East Film Festival in Udine, Italy, is back in full force in 2023, celebrating its 25th anniversary edition from April 21–29. A key component of the celebrations will be a focus on the Asian films of the 1980s. “We have never programmed these films, nor put together this kind of program before,” says Thomas Bertacche, the FEFF’s co-head. “But these were the films and directors that inspired us to shape Udine into the festival that it is today.” Pitching the historical lineup as “hidden treasures,” the selection is expected to include early works by Japan’s Kurosawa Kiyoshi, Thailand’s Nonzee Nimibutr and South Korea’s Jan Sung-woo.

Top executives from Asian media companies including CJ ENM, Zee Entertainment Enterprises, BEC World and Bona Film Group discussed Asia’s changing media landscape on the first day of Hong Kong’s Filmart. 

Patrick Frater Asia Bureau Chief Despite a barnstorming address celebrating the re-opening of Hong Kong and China by Bona Film Group COO Jiang De Fu, it is clear that the film industry in China is still suffering its own version of long-COVID, with box office tracking at around half of 2018 levels. “The Chinese box office was RMB60.7 billion ($8.89 billion at current rates of exchange) in 2018. And 83 films made over RMB100 million. 16 films that made over RMB1 billion. Post-pandemic, in 2022, China’s box office was RMB29.9 billion. [Just] 41 films made over RMB100 million. [And] 8 films made over RMB1 billion. We are now only at 50% of the level in 2018,” said Jiang aty a presentation on the first day of Hong Kong’s FilMart.

Patrick Frater Asia Bureau Chief Singapore’s Mocha Chai Laboratories and Emissary Pictures, a company that straddles New Zealand, Australia and Indonesia, have announced a strategic partnership for the development and production of cross-cultural films, series and content in Asia. The venture will have offices in all four countries and will identify, develop and produce content across genres and formats, including films, television series, documentaries and digital content. The agreement was announced in Hong Kong on the first day of the FilMart rights market. The pair say that they have scripted and unscripted projects in development and production. Slate details, however, remain under wraps as do distribution plans.

Naman Ramachandran Asian content heavyweights revealed their thoughts on several subjects at a panel called “The Asian Wave in 2023 and Beyond” on March 13, the opening day of FilMart in Hong Kong. The lively session, moderated by Variety‘s Asia editor Patrick Frater, featured Sebastian Kim, director of international content sales and acquisition at Korea’s CJ ENM, Sanmesh Thakur, executive VP and territory head, Asia Pacific, at India’s Zee Entertainment Enterprises and Ziraviss Vindhanapisuth, VP, international business at Thailand’s BEC World Public Company. The evergreen topic of co-production was discussed in some depth. Kim said: “We’ve been looking for this formula for decades and for now, we find that the best formula of co-production is more like an adaptation of the original — A place to B place production — that’s how we’ve been doing it.”

EXCLUSIVE: Korea’s CJ ENM is off to a strong start in the international arena in 2023, with its U.S. co-production Past Lives emerging as one of the biggest hits of Sundance and Berlin, and Vietnamese family comedy House Of No Man becoming the highest-grossing film of all time in its home territory. 

Patrick Frater Asia Bureau Chief After three editions that were canceled due to a combination of COVID and bad timing, Hong Kong’s FilMart film rights market may have finally had some things go its way. It opens March 13 with many factors now moving in its favor. Not least of these are the moves by the Hong Kong government to end its previously harsh and persistent disease-control measures. The city wound down its disruptive quarantine and tracking measures at the end of 2022, opened its borders in January and finally dropped its mask mandate in the last 10 days. “We saw an immediate jump in interest from buyers and sellers after Chinese New Year’s border opening and there were no more restrictions on the food and beverage sector,” says Gloria Chan, section head for the entertainment industry at FilMart organizer, the Hong Kong Trade Development Council.

Patrick Frater Asia Bureau Chief Hong Kong-based indie sales agent Autumn Sun comes to FilMart with a bulging slate of new film titles from around Asia — including two animated features from mainland China. Autumn Sun, headed by sales veteran Elliot Tong, is giving a market premiere to “Planet Cat,” an animated feature by Song Yuefeng (“Ping Pong Rabbit,” “Throne of Elves”) about a chance meeting between a stray cat and a girl in a city at night. The film is produced by Nuctopus Studio and Dreamers Studio and previously won a development prize at the Beijing International Film Festival. The feature is now in post-production and a promo reel is being screened at the market.

Patrick Frater Asia Bureau Chief Philippines media powerhouse ABS-CBN is launching “The Bagman” action drama series as a remake of its own “Bagman” digital production and will launch it at Hong Kong’s FilMart next week. The original “Bagman,” which ran to two seasons and sold to Netflix in The Philippines, follows a neighborhood barber who lands a job as the governor’s henchman and gets caught up in a dangerous web of crime, corruption, and political turmoil. That is a familiar story for ABS-CBN itself. The company was until 2020 The Philippines leading broadcaster. But it dared to criticize the policies of then president Rodrigo Duterte and found its TV licenses were not renewed. Since the loss of its TV broadcast operations, ABS-CBN has repositioned itself as a mass content company working as a producer with other producers and broadcasters and outputting news to its website, streaming service iWantTFC and YouTube channels. It also operates related businesses in talent management and events.

While it's nothing new, and we're certainly not complaining, Harry Styles' name is inescapable right now.