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08.03.2023 / 11:59

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Adam Driver Sci-fi Film ’65’ Confirmed to Land in China Cinemas

Patrick Frater Asia Bureau Chief Adam Driver-starring sci-fi adventure film “65” has been approved for theatrical release in mainland China. It will hit cinemas on March 31, some three weeks after the film began to release in other international territories. The film is branded as a Columbia Pictures title and will be released by the Sony label in most territories. In China, however, all revenue-sharing import titles are officially handled by a state-owned enterprise. The Hollywood studio’s Chinese office theoretically operates in an advisory capacity, though in practice it is likely to be involved in marketing strategy and p&a decisions. The film has a survival-quest narrative. After a catastrophic crash on an unknown planet, pilot Mills (Driver) quickly discovers he’s actually stranded on Earth some 65 million years ago. Now, with only one chance at rescue, Mills and the only other survivor, Koa (Ariana Greenblatt), must make their way across an unknown terrain riddled with dangerous prehistoric creatures in an epic fight to survive.

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HBO Supply Deal With Japanese Streamer U-Next Renewed by Warner Bros. Discovery

Patrick Frater Asia Bureau Chief Warner Bros. Discovery and Japan’s U-Next have announced an extension of their relationship with a renewed deal to supply content to the SVOD platform. The agreement sees U-Next continue as the streaming home of HBO in Japan. Featuring exclusive content rights for HBO, HBO Original and HBO Max Original series, the strengthened agreement includes: current and future seasons of HBO’s “House of the Dragon,” “The Last of Us” and “Succession” as well as returning HBO Original and HBO Max Original series “True Detective: Night Country,” “Winning Time: The Rise of the Lakers Dynasty” and “And Just Like That…”

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‘The Woman King’ Approved for Release in Mainland China Cinemas

Patrick Frater Asia Bureau Chief TriStar Pictures film “The Woman King” has been given official permission to release in cinemas in mainland China. It is expected to debut on April 14. The Viola Davis-starring fantasy action film had its world premiere at the Toronto International Film Festival in September last year and went into U.S. and international commercial release shortly after. The film has grossed $97.2 million worldwide, with $29.9 million coming from international markets and $67.3 million in North America. While the China release is significantly later than the rest of the world, potentially opening the film to online piracy, the launch date was communicated by Chinese authorities with some five weeks of advanced notice. That is more than many Hollywood films have received in China and gives the local marketing teams a reasonable chance to promote the film’s theatrical launch.

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Saudi Arabia Fund Increases Stake in Japan’s Toei, Expands Entertainment Investments – Global Bulletin

Patrick Frater Asia Bureau Chief Saudi Arabia’s sovereign wealth fund Public Investment Fund (PIF) has increased its stake in Japanese film and TV studio Toei Company, from 5% to 6.03%, according to a report by the Reuters financial news agency. The move comes shortly after Toei published a ten-year plan for international expansion. Toei includes film and TV production operations, the T-Joy cinema chain and Toei Animation. Last month, it said that it had beaten its film revenue record, thanks to the success of titles including “The First Slam Dunk,” “The Legend of Butterfly” and “One Piece Film Red.” The stake increase also follows PIF’s February announcement that it had increased its stake in Japanese games and console maker Nintendo to 8.26% and that (along with the Singapore state fund GIC) was a buyer of a $966 million bond issue from Korean entertainment-tech firm Kakao Corp.

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Netflix to Increase Asia Content Spending by 15% in 2023 as Revenue Growth Accelerates in the Region – Study

Patrick Frater Asia Bureau Chief Global streaming operation Netflix is forecast to spend $1.9 billion on local content in the Asia-Pacific region this year as group revenue from the region accelerates to 12%, according to a new report. The content investment spending figure represents a 15% hike. Netflix will grow revenues this year by 12% year-on-year to exceed $4 billion compared with 9% growth in 2022, says a new report published on Monday by Media Partners Asia.

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Korea Box Office: ‘Swordsmith Village,’ the Latest ‘Demon Slayer’ Franchise Film, Takes Weekend Honors

Patrick Frater Asia Bureau Chief Weekend honors at the South Korean box office went to the Japanese animation film “Demon Slayer: Kimetsu No Yaiba – To The Swordsmith Village,” the latest installment in the “Demon Slayer” film and TV franchise. It earned $2.31 million between Friday and Sunday, for nearly a quarter of the total weekend cinema business, according to data from Kobis, the tracking service operated by the Korean Film Council (KOFIC).

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China Box Office: Hong Kong’s ‘Cyber Heist’ Takes Top Spot in Mainland Chinese Cinemas

Patrick Frater Asia Bureau Chief “Cyber Heist,” a crime thriller directed by Hong Kong’s Wong Hing-fan (“I’m Livin’ It”) and scripted by Soi Cheang (aka Cheang Pou Soi), took the top spot at the mainland Chinese box office over the weekend. It earned a very modest $6.2 million, according to data from consultancy Artisan Gateway. But that was enough to win on the quietest weekend since January’s Lunar New Year holiday season. “Cyber Heist” stars Aaron Kwok as a cyber security engineer who develops a state-of-the-art firewall that is capable of fending off online attacks against the global financial system. But he does not realize that in doing so he has stepped into a minefield that is even more dangerous. The picture also stars Lam Ka-tun and Simon Yam.

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Hong Kong Box Office Sees Lofty Drama ‘A Guilty Conscience’ Reach Same Flight Level as ‘Top Gun: Maverick’ – Global Bulletin

Patrick Frater Asia Bureau Chief Already the highest grossing local film in its home market, courtroom drama, “A Guilty Conscience” has broken into Hong Kong’s all-time top ten box office ranking with a cumulative of HK$107 million ($13.7 million). Data from Hong Kong Box Office Ltd. shows the film achieving the feat after just 41 days in cinemas and coming within HK$1 million ($150,000) of overtaking “Top Gun: Maverick.” The data firm noted that the last time a Hong Kong film got this far was with fantasy-action-comedy “Kung Fu Hustle” in 2004. Since then, it has been overtaken by a fleet of Hollywood titles. Hong Hong’s current top ten is headed by “Avengers: Endgame” and includes six Marvel movies, the two “Avatar” titles and “Titanic.”

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Cult Expose: Netflix Defeats Injunction, Airs ‘In the Name of God: A Holy Betrayal’ Documentary on Korean Religious Leaders

Patrick Frater Asia Bureau Chief Netflix and Korean public broadcaster MBC on Thursday defeated a court application for an injunction to stop the airing of their documentary “In The Name of God: A Holy Betrayal.” The 8-part series began airing from Friday (March 3). It is a Netflix Original, meaning that the streamer has global rights, including in Korea. The show examines “the chilling true stories of four Korean leaders claiming to be prophets [and] exposes the dark side of unquestioning belief.” Among its subjects is Christian Gospel Mission, also known as Providence, and also known as Jesus Morning Star, or JMS. It shares those initials with its controversial leader Jeong Myeong-seok (aka Jung Myung-seok) who is currently awaiting trial in Korea for sexually assaulting some of his female followers.

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K-Pop’s Corporate Clash: HYBE’s Battle for SM Entertainment Gets Rougher

Patrick Frater Asia Bureau Chief HYBE Corp., the talent firm behind K-pop sensation BTS, has launched a campaign to woo the shareholders of SM Entertainment, the rival Korean talent empire in which it is poised become the largest single shareholder. In a letter and video package, issued Thursday, HYBE said that it was launching a campaign website detailing its business strategy and the ways in which it plans to prioritize SM shareholders. The documents directly criticized SM’s current management and also struck out at Korean entertainment-tech giant Kakao, with which SM has recently struck an alliance.

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‘Absence’ Director Wu Lang on What Chinese Filmmakers Have Been Doing While the World Was Not Watching

Patrick Frater Asia Bureau Chief Sculptor turned director Wu Lang made a splash at the Berlin Film Festival with his debut feature “Absence” playing in the festival’s showcase Encounters section. With a high-profile cast headed by Lee Kang-sheng (“What Time Is It There?” “The Wayward Cloud”) and Li Meng (“The Bad Kids,” “The Guillotines”) “Absence” is an art-house romance that uses skyscapes and urban landscapes as metaphors for inner feelings. The seduction starts with a man’s return to Hainan Island after ten years in jail and ends with a flock of sheep in an abandoned construction site. Wu: Shooting the first short film for me had two purposes. First, making a film is not easy in terms of financing and finding coproducers. So, first I wanted to make a short in order to get myself started.

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Sammo Hung to Receive Lifetime Achievement Honor at Asian Film Awards – Global Bulletin

Patrick Frater Asia Bureau Chief Martial arts veteran Sammo Hung is to be presented with a lifetime achievement honor at the upcoming Asian Film Awards. The ceremony is back as an in-person event after a two-year absence and shifts back to Hong Kong after previously being held in Hong Kong, Macau and Busan. Hung is expected to accept the award on Sunday March 12 at the Hong Kong Palace Museum. “I’m so happy and surprised that I can still win awards these days, especially an award that affirms my entire performing career,” said Hung in a forwarded statement. He has a career as actor, action choreographer, director and producer that stretches some 60 years.

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China’s Maoyan Warns of Profit Slump, Touts Diversification Moves – Global Bulletin

Patrick Frater Asia Bureau Chief Maoyan, the Chinese film ticketing agency and film distribution company, has issued a warning that profits for 2022 are set to take a steep dive. Revenue for last year is expected to come in at RMB2.27 billion and RMB2.37 billion, representing a decrease of up to 31% compared with 2021. Profit attributable to the owners of the company will range between approximately RMB70 million and RMB120 million, representing a decrease of approximately 67% to 81% compared with attributable profit in 2021, which had been RMB369 million. The company’s fortunes are closely allied to the trend of the mainland Chinese box office. Nationwide theatrical grosses took a huge tumble in the second half of the year as the government stepped up its battle against the COVID outbreak, causing the full year box office to fall by 36%.

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Asian Streamer Viu Approaches Profitability, Divulges Subscriber and Revenue Data

Patrick Frater Asia Bureau Chief Multi-territory Asian streaming service Viu has publicly disclosed key performance metrics for the first time and said that it was cash flow positive on an annual basis in 2022. The company, which operates in 16 Asian and Middle East markets and is seen as a rare success story in regional streaming, counts Hong Kong conglomerate PCCW as its principal shareholder, which also unveiled its own profits and loss figures for the 2022 calendar year. Viu which operates both ad-supported and paying tiers, said that it had 66.4 monthly active users in 2022, an increase of 13% year-on-year. Paying subscribers increased by 45% to 12.2 million over the same period.

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China Box Office: Hong Kong Courtroom Drama ‘A Guilty Conscience’ on Top in Mainland Cinemas

Patrick Frater Asia Bureau Chief Hong Kong courtroom drama film “A Guilty Conscience” edged aside Chinese and Hollywood tentpole films to top the mainland China box office in its opening weekend. According to data from consultancy service Artisan Gateway, the film earned $8.5 million (RMB58.4 million) in its opening three days between Friday and Sunday. “The Wandering Earth 2,” which has been in cinemas for over a month, earned $7.4 million to elevate its cumulative total to $568 million. “Ant-Man and the Wasp: Quantumania,” which opened on top a week earlier, collected $7.0 million, giving it a 10-day cumulative of $31.4 million.

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