Innovating Global Cinema Connections: ACFM's Vision for a Continuous Platform
Transforming the Market: Introducing ACFM 365
Ellen Y.D. Kim, director of the Asian Contents & Film Market (ACFM), is spearheading an initiative to evolve the market from a brief annual event into a dynamic, year-round platform known as ACFM 365. This ambitious project seeks to establish a permanent digital hub, integrating robust database functionalities with sophisticated matchmaking services. It will unite the comprehensive data analytics of The A Report with the project development and networking capabilities of the Asian Project Market (APM) and the Busan Story Market, fostering continuous engagement and collaboration within the global film industry.
Addressing Funding Deficiencies: A Call for Sustained Investment
Despite the growing scale and international significance of ACFM, Kim points out a critical challenge: public funding has not kept pace with its expansion. She emphasizes that the market's role has broadened substantially, yet government support has remained static for two consecutive years. Kim passionately argues that investment in the film industry, particularly in market infrastructure like ACFM, should be recognized as a vital investment in economic growth, rather than simply a subsidy, given its pivotal role in pioneering pathways for other sectors.
Strategic Objectives: Expanding Reach and Influence
Kim has outlined a comprehensive five-year plan for ACFM, focusing on several key areas. This includes the consistent publication of The A Report, the establishment of a permanent leadership forum based on The A Summit, and the development of Cinema by Brand into a self-sustaining financing model. Additionally, she aims to forge international partnerships for the Asian Cinema Fund and to increase global participation from Latin America, the Arab world, and Africa, pushing the number of represented countries beyond 70.
Remarkable Growth Amidst Challenges: ACFM's Expanding Footprint
Now in its 21st year, ACFM has demonstrated significant growth. Last year saw a 14.4% increase in industry registrations and a 13.5% rise in overall attendance. This year, the market boasts 339 exhibiting companies and institutions from 32 countries, marking a 17% increase. Notably, tech exhibitors have more than doubled, and national agencies and film commissions have also seen a substantial rise. Thailand, as the first Country of Honor, brings 28 exhibitors, while Japan, the ProducerHub Focus Country, showcases 46, underscoring the market's expanding international appeal.
Innovation and Core Principles: Driving Market Evolution
Kim attributes ACFM's success and growth to its strategic curation and the introduction of innovative programs such as ProducerHub, InnoAsia, Doc Square, and The A, which have attracted new participants. Recent additions like an Investor Summit and microdrama sessions further enhance its offerings. Despite these innovations, Kim firmly states that the core structure, comprising the Sales Market, APM, and the Asian Cinema Fund, remains the backbone of ACFM. Every new initiative is rigorously evaluated based on its potential to broaden opportunities for cinematic endeavors.
Navigating the Global Content Landscape: Ownership and Revenue
Kim observes a critical disparity in the global success of Asian content: while it gains visibility, a significant portion of intellectual property (IP) and revenue often accrues to global platforms or studios. She advocates for producers to retain ownership of their IP and engage in direct trading. The Busan Story Market and ProducerHub are specifically designed to empower producers by providing forums to discuss creators' rights and revenue recovery strategies.
Korean Film Industry: A Complex Recovery Trajectory
While South Korea's box office showed a 42% increase in the first half of the year and admissions rose by 34%, with Korean films capturing 64% of revenue, these figures mask underlying issues. The number of Korean releases decreased by 22, and commercial Korean films averaged a 33% loss in 2025. Kim characterizes this situation as a rebound rather than a full structural recovery, noting a disconnect where producers struggle to secure funding, and investors perceive a lack of viable projects.
The Rise of International Collaboration and New Funding Sources
In response to these challenges, Korean producers are increasingly integrating international pre-sales and co-productions from the initial development phase. The Asian Producers Alliance, a collaboration between the Producers Guild of Korea (PGK) and the Association of Indonesian Film Producers (APROFI), is set to launch at ProducerHub. Furthermore, new financial backing is emerging from diverse sectors outside traditional film funding, including conglomerates, broadcasters, mining companies, and even beverage brands, particularly across India, Thailand, Mongolia, and China. Public funds, like Korea’s Fund of Funds film account and similar initiatives in Malaysia, Singapore, and Taiwan, continue to form a critical base, though their stability is tied to policy changes.
Adapting to Digital Transformation: Streamers and Technological Evolution
Country reports within The A Report indicate a shift in streamers' strategies, moving from simply licensing rights to actively co-financing productions. This is exemplified by the Philippines, where only a fraction of first-half releases were screened in cinemas. Kim also highlights the rapid advancement of technology within the industry, as seen with Mateo AI Studio raising significant pre-Series A funding and its AI feature 'Steelay' being showcased. The theme 'Cinema Coevolves with Tech' underscores this trend.
Concerns Over Technological Pace and IP Ownership
Kim expresses concern that industry institutions and personnel are struggling to keep pace with rapid technological changes. She also worries about the potential impact on junior crew, fearing that their training grounds might disappear if their roles are quickly automated. A significant concern is the possibility of Asia losing control over AI models trained on its languages and images, potentially repeating past IP challenges experienced during the platform era.
Strengthening International Co-Productions and Strategic Partnerships
Recalling her own experience with the internationally intended but solely Korean-produced film 'Hanaan,' Kim notes a positive shift towards more prevalent co-productions among Asian countries. She points to examples like a tripartite project involving Thailand’s M Studio, Japan’s Toei, and Korea’s Showbox, and the first financial co-production between Korea and Mongolia. Despite the increasing necessity of co-production as a risk-sharing strategy, formal treaties between Asian nations remain uncommon. The Asian Cinema Fund's Co-Production Support Fund has already selected three projects this year, and ten Japanese producers are set to pitch co-production projects with countries including Korea, Canada, Indonesia, and France.
Busan's Unique Appeal: A Gateway to Asian Cinema
When asked about Busan's competitive edge against other major film markets like Cannes, Berlin, Hong Kong, or Tokyo, Kim highlights the unique synergy of the Busan International Film Festival with the city itself. She describes Busan as a beloved 'hometown' for many attendees, where the vibrant atmosphere of sea, cinema, and stars converge. With international participants outnumbering local ones, Busan offers an unparalleled efficiency for those seeking to engage with Asian cinema. Projects nurtured through APM and the Asian Cinema Fund often debut at major international festivals years later, making Busan the premier gateway to discover these emerging films at their developmental stages for companies worldwide.
