The Hong Kong-Asia Film Financing Forum (HAF) stands as a vital pillar in the landscape of Asian cinema, celebrating its 23rd edition this year. This project market, which runs concurrently with Hong Kong’s Filmart, serves as a melting pot for creative minds, showcasing 25 thoughtfully curated projects from March 17 to 19. The inclusion of diverse works, such as the highly anticipated “Yellow,” produced by the esteemed Hirokazu Kore-eda in collaboration with emerging talent Miyoh Yamaura, exemplifies HAF’s commitment to nurturing fresh voices. Meanwhile, “Republic of Mahalaxmi Apartment,” the debut of director Niladri Mukherjee, reflects the global nature of contemporary filmmaking and the complex narratives that define modern cinema.
In this age of rapid globalization, industry leaders like Jacob Wong, HKIFF Industry Director, emphasize HAF’s strategic geographical positioning. Being located at the crossroads of East and Southeast Asia provides a unique opportunity to unite storytellers and creatives from varied backgrounds, fostering collaborations that may not otherwise occur. Wong’s remarks highlight a perceptive recognition of Hong Kong’s role as a hub not only for filmmakers from the region but also as an attractive destination for international collaborations.
An Expanding Landscape of Opportunities
The participation numbers for this year’s HAF reveal a healthy appetite for cinematic storytelling, with an impressive 276 project submissions from 45 different countries and regions, from well-known film markets like South Korea to emerging scenes in Kazakhstan and Turkey. Such diversity bolsters the pool of ideas and experiences that can catalyze innovation within the industry. As Wong asserts, “When you’re good, often you also are blessed with good fortune.” This underscores the invaluable role of events like HAF in enabling filmmakers to showcase their projects, attracting the right audiences, and potentially securing the deals necessary for success.
HAF not only serves as a platform for project development, but it’s also a gateway to participation in other significant market initiatives, including the HKIFF Industry Project Market, which resides at the illustrious Hong Kong Convention and Exhibition Centre. With plans for programs like HAF Goes to Cannes and HAF Film Lab, the forum demonstrates a clear commitment to connecting Asian cinema to the global stage. The expansion of partnerships, such as the newly announced HKIFF Industry-CAA China Genre Initiative, seeks to empower filmmakers at various stages of development by providing essential resources, including script consultations.
Animation’s Rising Influence
This year’s celebration brings with it an exciting development: the Animation Initiative, which is gaining traction at HAF. With a remarkable 60% increase in submissions in the animation category, it is clear that this medium is becoming an integral part of storytelling in Asia. Wong’s acknowledgement of animation as an “important product line” suggests his foresight regarding its potential to capture audiences not just locally, but internationally. By hosting panels and showcasing notable projects, HAF recognizes the need to foster this burgeoning sector.
The collaboration with Jakarta Film Week marks another significant stride toward nurturing regional ties. By facilitating the presence of Indonesian projects, HAF champions an inclusive environment, enhancing mutual understanding through cinematic expression. This proactive stance reflects a broader vision for the regional industry, where partnerships are essential for mutual growth and survival amidst competitive pressures.
A Mixed Bag: Challenges Facing the Local Industry
Despite the optimism surrounding HAF, the state of Hong Kong’s film industry paints a more complex picture. The high box office returns from films like “The Last Dance” and “Twilight of the Warriors: Walled In” are encouraging; however, the overall trend indicates a downturn with decreasing production and annual revenue. Wong’s candid reflections about the challenges of sustaining a film sector in a city of 7.5 million provoke a critical dialogue about the future of Hong Kong cinema. He suggests that while creating a thriving film culture is achievable, the current model must adapt to ensure continued growth and resilience.
One pressing concern is the gap in support for filmmakers after their debut feature. Welcoming insights from directors like Sasha Chuk, whose second project is grappling with funding largely from local sources, Wong highlights the necessity for bolstered support systems beyond initial film endeavors. The existing government initiatives favoring first-time filmmakers exhibit a commendable intention but must evolve to encompass those pursuing subsequent projects.
In an industry typified by risk, the availability of tailored support is vital for maintaining a robust creative ecosystem. Nurturing filmmakers as they transition from their first to second features is imperative, not just for individual careers but for the vitality of Hong Kong’s cinematic landscape as a whole. As new collaborations and initiatives come to fruition through forums like HAF, the vitality of innovation, partnership, and enhanced support for creators will ultimately define the trajectory of Asian cinema in the coming years.