Frater Asia: Last News

Patrick Frater Asia Bureau Chief Global streaming giant Netflix has publicly committed to spending $2.5 billion (approx. KRW3.34 trillion) on South Korean film and TV production over the next four years. The total is double the amount it has spent in Korea since 2016, the company said. The promise was made by Ted Sarandos, co-CEO of Netflix, at a meeting in Washington DC with South Korean President Yoon Suk Yeol. “We were able to make this decision because we have great confidence that the Korean creative industry will continue to tell great stories. We were also inspired by the President’s love and strong support for the Korean entertainment industry and fueling the Korean wave. I’d like to personally thank the President for his kind response letter,” Sarandos said in a statement.

Patrick Frater Asia Bureau Chief Director Stanley Tong (“Rumble in the Bronx”) is to team up with Jackie Chan for the tenth time on “The Legend.” State media in China report that Chan, who recently reached the top spot in the mainland Chinese box office with aged stuntman comedy “Ride On,” will play an archaeologist on a quest through time and space. With production by Bona Film Group, “The Legend” is pitched as being in the same vein as Tong and Chan’s 2005 effort “The Myth,” which was a fantasy love story. Tong and Chan have worked together on other titles including “Police Story 3,” “Supercop” and “Vanguard.” India’s Jio Studios is backing “Khashaba,” a Marathi-language film on the life of India’s first Olympic medalist Khasaba Dadasaheb. After delivering the sleeper hit Sairat and Fandry, the new film will be directed by Nagraj Manjule. The title is considered as part of Jio Studio’s ambition to deliver more than 100 stories this year. With production to begin shortly, the film will be mounted on a large scale. “Along with entertaining the audience, this film will also introduce the audience to a brave and exceptional athlete who made India proud all over the world,” said Manjule. “Khashaba” will be presented by JioStudios and produced by Aatpat Production, Jyoti Deshpande and Manjule.

Patrick Frater Asia Bureau Chief Malaysia-based content group Vision New Media has promoted Min Lim to the newly created role of group CEO. She reports to founder and chairman Beng Teck Lim. Poh Lin Ho, who had been with Vision Plus Entertainment for nearly 40 years, latterly as its CEO, is stepping down from the business. Lim, who is currently head of production at group production business Double Vision, will now take responsibility for all content creation and distribution activities, plus the group’s extensive post-production, dubbing and subtitling services. She will also oversee Square Box Pictures, the group’s theatrical distribution arm, as well as long-standing television distributor Vision Plus Entertainment.

Patrick Frater Asia Bureau Chief The highly-anticipated Japanese animated feature film “The First Slam Dunk” dominated the mainland China cinema box office in its opening weekend. It broke multiple records as it did so. The film scored $38.5 million (RMB266 million) over the Friday to Sunday weekend, according to data from consultancy Artisan Gateway. However, it opened on Thursday, a day earlier than is the norm in China, and has accumulated $55.2 million over the opening four-day frame. The film is based on IP that is well-known to a generation of comic book fans and TV audiences in China (early middle-aged men were reported to have been particularly interested) and has already proved a hit in other parts of Asia. (Comscore estimates that the film has grossed $211 million worldwide.)

Patrick Frater Asia Bureau Chief The South Korean cinema box office fell to its lowest level of the year over the latest weekend. Nationwide theatrical earnings in a territory which before COVID was the world’s fourth largest were barely over $6 million. “John Wick: Chapter 4” lead the weekend chart from Japanese anime “Suzume” and Korean sports drama “Rebound” in a top three repeat from a week earlier. “John Wick 4” earned $2.51 million in its second weekend of release, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). That was a 38% week-on-week decline and represented a 41% share of the total Korean box office market. It also gave the film a cumulative total of $9.73 million since release on April 12.

Patrick Frater Asia Bureau Chief Global cinema box office recovered strongly in the first three months of the year, driven by the performance of “The Super Mario Bros. Movie” in many territories and a bumper Chinese New Year season in mainland China. The upbeat news was delivered on the eve of CinemaCon Las Vegas by specialist research firm Gower Street Analytics, which has now increased its forecast of the cinema industry’s full year. The firm now projects that 2023 gross revenues will reach $32 billion, a 10% increase on its earlier estimate of $29 billion. “A $32 billion global box office in 2023 would represent an approximate +23% improvement on 2022. It remains 20% behind an average of the last three pre-pandemic years (2017-2019), but it shows how post-pandemic recovery of our business continues to improve,” said Gower Street.

Patrick Frater Asia Bureau Chief Rights to ‘Man in Black,” one of two documentary films by China’s Wang Bing to appear in Official Selection at Cannes this year, have been picked up by specialty sales agency Asian Shadows. The 60-minute film, which will debut as a special screening, is a portrait of 86-year-old Wang Xilin, one of China’s most important modern classical composers and is now lives in exile in Germany. It was made in close collaboration with French cinematographer Caroline Champetier, whose credits include Leos Carax’s “Holy Motors,” Amos Gitai’s “Promised Land” and Andre Techine’s “Alice and Martin.” During the 1960s, when China’s Cultural Revolution forced intellectuals into the fields and stripped the middle classes of their wealth, Wang Xilin was the was the target of severe persecution, including beatings, imprisonment and torture. The film examines the body and soul of a man scarred by a life of suffering, who is yet still capable of deep and sincere compassion.

Patrick Frater Asia Bureau Chief Trinity CineAsia has acquired rights to Chinese tentpole action movie “Born to Fly,” and will release the film in cinemas in the U.K. and Ireland.

Patrick Frater Asia Bureau Chief Japanese animated film “The First Slam Dunk” has taken a strong early lead at the mainland China box office, picking up $13.8 million on its Thursday opening day. Films mostly release in China on Fridays, but the Japanese hit was given previews on Wednesday and a full court release on Thursday, starting with widespread midnight screenings. Data from local firm Ent Group reveals that the film earned $3.16 million from some 14,000 preview screenings on Wednesday, followed by $13.8 million on Thursday from 184,000 screening sessions. That gives it a $17 million cumulative and positions it at the top of the box office chart even before the conventional Friday to Sunday weekend begins.

Patrick Frater Asia Bureau Chief The Indian Film Festival of Los Angeles is expanding its efforts to engage the industry side of the business and in June will host its inaugural IFFLA Industry Day. The festival was founded in 2002 and, now in its third decade of operation, has pivoted to a strategy of year-round programming and events. The center piece of the IFFLA Industry Day will be a pitch competition that involves selected emerging and established film and TV writers and directors who pitch their upcoming project to a panel of executives from different sectors of the industry. The executives and a live public audience will provide feedback and heighten the sense of discovery. The winner will receive a $10,000 development grant.

Patrick Frater Asia Bureau Chief Jung Ho-seok, better known as J-Hope, Tuesday became the second member of K-pop sensation BTS to join the Korean military. Approaching his 30th birthday, J-Hope attended an army camp at Wongju, south of Seoul, and is expected to begin five weeks of basic training there. Local news agencies reported a small crowd of fans, seemingly outnumbered by assembled journalists, waited outside the camp to wish him well. Their number was reported to be diminished by bad weather. Earlier, J-Hope had posted on the Weverse fandom platform words of encouragement and a pair of photos revealing his newly-shorn hair. “I love you all. ARMY, I will return safely,” he wrote. ‘Army’ in that sense is a reference to BTS’s legion of fans, rather than the Korean military services.

Patrick Frater Asia Bureau Chief The battle for corporate dominance of K-Pop has become a drama that never stops giving. After the acrimonious takeover battle between BTS-backer Hybe Corp. and tech giant Kakao for control of SM Entertainment, Korea’s financial regulators are probing the deal-making that eventually led to Kakao’s victory. Korea’s Financial Supervisory Service raided the offices of SM Entertainment on Tuesday, according to the Yonhap news agency. Investigators were looking for evidence of stock price manipulation between February and March when the two camps were skirmishing.

Patrick Frater Asia Bureau Chief Dubai-based sales agency Cercamon has picked up international rights to “Inside the Yellow Cocoon Shell” by first-time feature director Pham Thien An. The film will have its global premiere next month in the Directors Fortnight section of the Cannes film festival. Pham Thien An previously made short films “The Mute” in 2018 and the one-take “Stay Awake, Be Ready” in 2019. Both enjoyed a busy festival career, with “Stay Awake” earning the Illy Prize in Cannes followed by additional awards at the Palm Springs, Busan, Kyiv and Flickerfest events. “Inside the Yellow Cocoon Shell” follows the emotional journey of Thien, who is entrusted with the responsibility of delivering his sister-in-law’s body to their hometown after a tragic motorcycle accident in Saigon. Amidst this heartbreaking task, Thien also takes care of his nephew, Dao, a five-year-old survivor of the accident. As they traverse the mystical landscapes of rural Vietnam, Thien embarks on a quest to find his long-lost brother and reunite him with Dao, a journey that ultimately leads him to question his faith.

Patrick Frater Asia Bureau Chief The Sydney Film Festival will present ‘Jane Campion – Her Way,’ a retrospective of films by the pioneering director. Campion herself will appear in conversation with David Stratton on June 10 at the 2023 edition of the festival, its 70th anniversary presentation (June 7-18). Held in association with ACMI and the National Film and Sound Archive, ‘Jane Campion – Her Way’ will encompass screenings of all nine of Campion’s feature films, as well as a selection of her short films. The selection will go on to tour the ACMI in Melbourne (June 15 – July 2) and at NFSA in Canberra (July 20-30). “For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. Campion is a ground-breaking filmmaker who has made a profound impact on cinema with her daring and unforgettable films,” said Sydney Film Festival director Nashen Moodley.

Patrick Frater Asia Bureau Chief Leading indie sales agent Finecut has picked up international rights to “In Our Day” by idiosyncratic South Korean director Hong Sang-soo. The film is set as the closing title of the Directors’ Fortnight sidebar of the Cannes festival. Hong, who works on low budgets, controls much of the production process and makes repeated use of a small pool of actors, is one of the most prolific feature directors in the world. This is already his second feature this year. His earlier, “In Water” played in the Encounters section at Berlin in February His films are known for their minimalist style, a focus on female characters, serial chance encounters and oblique references to the media industry. On paper, “In Our Day” fits exactly in that groove.

Patrick Frater Asia Bureau Chief Beleaguered multinational cinema operator, Cineworld says that has halted its attempt to sell off its businesses outside the U.S., U.K. and Ireland. This appears to mean that the group will remain intact as it seeks a pathway out of the U.S. Chapter 11 bankruptcy strictures. “The group received proposals for the [rest of the world] business from a number of prospective counterparties, however the proposals did not meet the value level required by the group’s lenders,” Cineworld said in a statement on Tuesday. Cineworld owns the Regal cinema chain in the U.S. and is the second largest movie theater operator in the world. Its shares are listed in the U.K.

Patrick Frater Asia Bureau Chief Television Broadcasts, Hong Kong’s leading free-to-air broadcaster, has said that it is considering legal action against a group of shareholder activists. The shareholder group, seemingly led by Chow Ngai Keung and publishing its critiques on Facebook, has made a series of complaints about TVB. These include the allegation that TVB is operating a streaming app Maiduidui in Mainland China without the proper authorization and that TVB has misled shareholders over the official name of the company that ultimately holds executive control. The minority shareholders have also criticized TVB for investments in Mainland Chinese firm SMI and State Reserve Energy Bonds, which have cost the company HK$1 billion ($128 million) of losses, and for its 2021 acquisition of e-commerce platform Ztore.

Patrick Frater Asia Bureau Chief The Hong Kong Film Awards gave a huge dose of support to veteran filmmaker Mabel Cheung Yuen-ting, naming her documentary “To My Nineteen-Year-Old Self” as best film on Sunday, despite local controversy which saw it pulled from screens earlier this year. The numerical winner on the night was “Detectives Vs Sleuths,” which earned four major awards: best director, best screenplay, best actor (Sean Lau Ching-wan) and best cinematography. The hugely popular Sammi Cheng was named winner of the best actress award, her first win after six previous nominations. Michelle Yeoh was on hand to present the prize for best new performer to 10-year-old Sahal Zaman, for his role in “Sunny Side of the Street.” Yeoh, who recently won the Oscar for best actress in “Everything Everywhere All at Once,” established her career in Hong Kong and won the same award back in 1986 with “Yes, Madam.”

Patrick Frater Asia Bureau Chief Jackie Chan-starring nostalgic stuntman comedy film “Ride On” trotted to a second weekend atop the mainland Chinese box office. “The Super Mario” Bros. Movie” remained in fourth place. “Ride On” earned $6.0 million (RMB41.5 million) between Friday and Sunday, a 48% week-on week drop, according to data from consultancy Artisan Gateway. That took it to a $22.6 million total since release on April 7. Below it, Japanese animation “Suzume” and Chinese shaggy dog story “Hachiko” swapped places. “Hachiko,” on its third weekend outing, earned $4.9 million, for a cumulative of $35.1 million. “Suzume” earned $4.5 million in its fourth weekend on release in China, giving it a $109 million cumulative.

Patrick Frater Asia Bureau Chief “John Wick: Chapter 4” easily outgunned Japanese animation film Suzume to claim top spot at the South Korean box office over the latest weekend. The American action title earned $4.05 million between Friday and Sunday, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). That represented a nearly 50% market share, continuing a polarization or clustering around a single title that has become familiar of late in Korea, a market that formerly had greater diversity and width. Over the five days since its Wednesday opening, “John Wick 4” earned $5.87 million.

Patrick Frater Asia Bureau Chief Is it time for South Korea’s TV drama series to move over and make way for Korean unscripted entertainment — namely game shows and reality shows? While 2003 drama series “Jewel in the Palace,” or the more recent “Crash Landing on You,” “Memories of the Alhambra,” “Mr. Queen,” “Love (ft. Marriage and Divorce)” and “Descendants of the Sun” have for years successfully tugged at emotional heartstrings across Asia, the unscripted category has equally long been a staple of Korean domestic TV. Korean variety shows have been a catch-all with multi-generational appeal. Talent contests have worked well in the home market, but often were too quirky — too much dialogue, or distracting titles flashing across the screen — which meant that they were best exported as formats rather than finished shows.