France’s film and TV sales agencies are expanding their efforts to do business with companies in China and Southeast Asia. That requires travelling to the region and, for some, a tweak to established mindsets.
This month has seen a delegation of sales firms set up stall in specially-organized rights markets in Beijing, China, and another in Saigon (aka Ho Chi Minh City) in Vietnam. The efforts were backed by Unifrance, the trade association which now draws its membership from both film and TV disciplines. And the events drew additional support from the French embassy in each country.
“For us, 2024 is the year of renewed showcase events. And China and Asia are at the top of our list,” said Sarah Hemar, Unifrance’s director of audiovisual.
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That is a refrain which echoes the comments previously made by French pay-TV giant Canal+, which has paid $300 million for a 37% stake in Asian streamer Viu. “Canal+ already has leading market positions in Europe and Africa. We are now looking forward to developing Asia as an additional growth engine for the group,” the company said this time last year.
“We have the means to bring together buyers and French sellers. In Asia people appreciate the efforts we make. People increasingly want to meet in smaller, targeted events, like this,” said Hemar. Her comment is a nod to the struggles endured by bigger rights markets like MipTV and AFM in recent years.
Within Asia, Unifrance also organizes: a public Film Panorama in Beijing; a film market in Japan with roughly 100 buyers in attendance; and the long-running Yokohama public film festival dedicated to French movies.
“Japan is quite a Francophile market, as well as a big one. It is important to have our own dedicated space there,” said Emmanuel Pisarra, Unifrance representative for Japan, Korea, India and Southeast Asia.
Unifrance also expects to operate umbrella stands at rights markets in Busan, South Korea, and in Singapore later this year.
The two-day market in Saigon involved ten sales companies – including Kinology, Goodfellas, Newen Studios and Loco Films – covering the feature film, TV, and documentary genres. It was attended by nearly 40 Southeast Asian buyers, hailing from Vietnam, Thailand, Malaysia, Philippines and Singapore, as well as well as non-buying professionals from Vietnam.
With a large Korean presence in the Vietnamese film industry – CJ CGV and Lotte are two of the largest cinema operators in the country – numerous Korean companies also act as rights intermediaries and were present at the Saigon event. The Vietnam deal for Tran Anh Hung’s “Pot au Feu” was done through a Korean firm.
“I travel to all the markets, including Hong Kong’s FilMart, but this is my first time in Vietnam. Some of the [Vietnamese] buyers don’t travel overseas, so it is helpful to be able to meet them in person. Spending quality time is hugely beneficial,” said Natalie Jeung of Kinology.
“We’ve previously done four deals in Vietnam, among them Luc Besson film titles. Besson is still a very saleable name here in Asia. ‘Dogman’ was widely sold in Asia, even after [Besson’s 2017 title] ‘Valerian’ flopped.”
The Chinese government’s travel restrictions on its citizens meant the Beijing rendezvous similarly permitted somewhat rare Franco-Chinese face-to-face meetings. TV specialists were reportedly plentiful, but recent years have meant a narrowed focus on the part of the Chinese buyers.
“The Chinese buyers told us they want films where the audience does not have to use their brain. Or think at all. And I’m selling foreign-language, art-house titles. Frankly, it was a little depressing,” said another delegate.
But others are warming to Chinese and Southeast Asian companies’ increasing appetite for remake and IP deals.
“Unlike some of the others, my prime focus is on remakes and IP sales. Selling the remake rights to China represents a low risk for the buyer. And it is good for us too, as the buyer may also choose to take the original [in order to block the rights] or other films,” said France Televisions Distribution’s Alexandre Rene, a veteran of the Asian rights scene. “In Saigon, I want to meet heads of production, as well as acquisitions staff, and to create synergies.”
