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24.02.2023 / 07:57

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Alibaba’s Third Quarter Profits Rebound as Entertainment Losses Contract

Patrick Frater Asia Bureau Chief Profits at Alibaba, the Chinese e-commerce and media conglomerate, more than doubled in the three months to December 2022 to reach $6.63 billion (RMB45.7 billion), on revenues that increased by 2% to $35.9 billion (RMB248 billion). The figures, which constitute the third quarter of Alibaba’s current financial year to end March 2023, represent a significant rebound after two difficult quarters. Alibaba’s aggregate net profits between April and December are still down by 32% at just $6.32 billion, compared with the equivalent nine-month period in 2021. The group portrayed the results as “solid [..] despite softer demand, supply chain and logistics disruptions due to impact of changes in COVID-19 measures,” and said that China’s improving macro-economic outlook will help it recover further.

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HYBE Set for Early Completion of SM Entertainment Investment, Despite Raging Controversies

Patrick Frater Asia Bureau Chief HYBE, the South Korean talent management company behind BTS, said Wednesday that it has already paid for its purchase a 14.8% stake in rival SM Entertainment and expects to complete the deal by March 6, ahead of the previously announced schedule. The company announced earlier this month that it will buy most of the 18.5% stake in SM Entertainment owned by founder Lee Soo Man, making HYBE SM Entertainment’s largest shareholder. The deal is priced at $336 million (KRW423 billion), giving SM Entertainment an implied valuation of $2.27 billion. Lee retains an option to sell the remainder of his stake to HYBE at specific prices within a month. HYBE has also offered to buy a further 25% of the company from other shareholders.

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Japanese Streaming Firms U-Next and Paravi to Merge

Patrick Frater Asia Bureau Chief Two of Japan’s leading video streaming services are to merge, it was announced late last week, creating the largest local company in the market. Current number two player U-Next is to absorb Premium Platform Japan, a company which operates the Paravi streaming platform. The combined company is estimated to have some 3.7 million subscribers and revenues exceeding JPY800 billion ($594 million) per year. Integration of the two operations could begin as soon as July, local media reported. That would allow U-Next subscribers to access Paravi’s content, much of which is re-runs from conventional TV broadcasters. Premium Platform Japan is substantially owned by TBS Holdings and TV Tokyo.

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BT Sports to Be Rebranded as TNT Sports in the U.K.

Patrick Frater Asia Bureau Chief TNT Sports is to be the new name of the premium sports brand being launched in the U.K. by BT Group and Warner Bros. Discovery. It will replace the name BT Sport. The Eurosport brand, owned by WBD, will also disappear from the U.K. The move, announced on Tuesday, will take effect later this year, from the start of the U.K. 2023-24 soccer season. The companies were less specific about the timetable for the disappearance of the Eurosport name. Eurosport, which has been a brand in the U.K. since 1989, will be “rolled into the new brand at some time in the future.”

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Black Mandala Selling ‘Mother Superior’ Gothic Horror Film on Nazi Race Experiments

Patrick Frater Asia Bureau Chief New Zealand-based Black Mandala Films is handling world sales on “Mother Superior,” a gothic horror fairy tale linked to World War II and the Nazi experiments on the purity of the lineage. It is the first feature by Marie Alice Wolfszahn, a director, screenwriter, and multimedia artist, currently residing in her hometown of Vienna, Austria. Time (absence), utopia – dystopia, ideology, folklore and faith are recurring themes in her films, as well as in his artistic installations. Wolfszahn previously directed immersive documentary, “Bridge to Sovietopia,” which premiered at IDFA in 2018, and “Sovietopia.” Both “Mother Superior” and “Sovietopia” were produced by Kurt Mayer Film.

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Vesoul Festival Unveils Lineup of Asian Films – Global Bulletin

Patrick Frater Asia Bureau Chief The Vesoul International Film Festival of Asian Cinema has unveiled its 85-title lineup for the edition that starts later this month (February 28 to March 7, 2023). Elements include a 10-film competition section, a 10-film documentary film section, a tribute to the Turkish director Semih Kaplanoglu; a thematic section “Asian Diaspora Cinema” offering a panorama of works by directors from Asian countries living in exile; and a Philippines cinema sidebar. Fiction films in competition include: Azerbaijan’s “Cold as Marble,” by Asif Rustamov; China’s “In Our Prime,” by Liu Yulin; Korea’s “A Letter from Kyoto,” by Kim Min-ju; India’s: “Behind Veils,” by Praveen Morshhale; Iran’s “No End,” by Nader Saievar; Mongolia’s “The Sales Girl,” by Sengedorj Janchivdorj; The Philippines’s “Feast,” by Brillante Mendoza; Singapore’s “#LookAtMe,” by Ken Kwek; and Vietnam’s “Memento Mori: Earth,” by Marcus Vu Manh Cuong. The president of the jury is Lee Yong-kwan, president of the Busan film festival.

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Subscription Video Enjoys Growth Surge in Southeast Asia, But Analysts Say Streamers Face Tougher 2023

Patrick Frater Asia Bureau Chief Growth of premium video services in Southeast Asia accelerated in the second half of 2022, to reach 48.4 million paid subscriptions, according to a new report. But the same analysis sees growth slowing and costs accelerating. The latest report from Media Partners Asia, “SEA Online Video Consumer Insights & Analytics” shows 48.4 million paid online video subscriptions at the end of 2022 in Indonesia, Malaysia, the Philippines, Singapore and Thailand. The full year saw 11.8 million net new customers, with 7.3 million of that total coming in the second half, including 4.6 million in the fourth quarter. Indonesia accounted for half of the increase.

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China Box Office: ‘Ant-Man and the Wasp: Quantumania’ Leads Weekend, But Momentum Slows

Patrick Frater Asia Bureau Chief “Ant-Man and the Wasp: Quantumania” topped the box office chart in mainland China on its opening weekend, with a $19.4 million start. But the much-discussed arrival of the Marvel movie was weak compared its franchise predecessor. And its debut was not enough to reignite the China box office market. The film arrived in a fashion that was adequately signalled for marketing purposes. And it opened on a date that was coordinated with the North American and other international debuts. In the context of the Chinese market, the film also had the advantage of landing at a time when the big, Chinese-made, Lunar New Year titles were losing their power.

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Japan Music Idol Nakajima Yuto Sees ‘#Manhole’ as Opportunity to Show His Maturity as an Actor —Berlinale Special

Patrick Frater Asia Bureau Chief The Berlinale Special section of the Berlin Film Festival is a showcase for movies that are intelligent, but less arty than those in the main competition or festival sidebars. And in showcasing mainstream non-English-language films the section is also a springboard for performers who may be big news at home, but who are little-known outside their core markets. Japan’s Nakajima Yuto fits that description perfectly. He has a dual career as a singer with boy band Hey! Say! Jump! and more than a decade as an actor. His acting credits including the Mike Ross role in the Japanese remake of hit U.S. series “Suits.” In his position as a music idol appealing to a volatile, younger demographic, means that selecting acting roles is — normally — something requiring careful consideration.

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Korea Box Office: ‘Ant-Man and the Wasp: Quantumania’ Leads Weekend

Patrick Frater Asia Bureau Chief “Ant-Man and the Wasp: Quantumania” dominated the Korean box office charts over the latest weekend with a $4.91 million opening weekend. Nationwide box office rose to $9.78 million, up from $7.85 million a week earlier. The film played on over 2,000 screens and enjoyed a 50.1% market share between Friday and Sunday, according to data from Kobis, the tracking service operated by the Korean Film Council. The film earned $7.1 million in its full five day run since opening on Wednesday. “Quantumania” landed ahead of “The First Slam Dunk,” the Japanese animation that opened at the beginning of the year and had taken the top spot for the previous two weeks. “Slam Dunk” earned $2.17 million, another strong hold, and down from $2.67 million the previous weekend. Its cumulative total since Jan. 4 stands at $26 million.

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Boris Becker Serves up Candor at Berlin Event and in ‘Boom! Boom!’ Documentary

Patrick Frater Asia Bureau Chief In the Alex Gibney documentary “Boom! Boom: The World vs. Boris Becker,” the then-active tennis player recalls a 1980s conversation with a tabloid newspaper editor who told him that only three subjects were guaranteed to get the German public’s attention: Adolf Hitler, German reunification and Boris Becker. Released from prison in the U.K. in December, Becker turned up in person in Berlin on Sunday to attend a press conference. Once again he dominated the court. Quotable, self-deprecating and larger than life, Becker maintained the candor that was characteristic of the multiple interviews he gave to filmmaker Alex Gibney — himself a tennis player and Becker admirer.

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Raven Banner Pulls On ‘Trigger’ By The Philippines’ Richard Somes – EFM

Patrick Frater Asia Bureau Chief Action thriller, “Trigger” from writer-director Richard Somes (“We Will Not Die Tonight,” “Supremo”) has wrapped production and is beginning sales at the European Film Market. “Trigger” (aka “Tokakk”) tells the story of a lonely security guard (portrayed by Arjo Atayde) previously discharged from the military due to his post-traumatic stress disorder. He finds himself embroiled in a different kind of war when a young woman (Julia Montes) seeks his protection against a corrupt police death squad. While the pair fight for their lives, the man must confront his inner demons to earn his redemption. The film also stars Arjo Atayde (“Cattleya Killer”), Julia Montes (“Brothers”), Sid Lucero (“The End of History”) and Kokoy De Santos (“Game Boy”) and is produced by Wilfredo C. Manalang of Fusee (the company that co-produced Cannes Camera d’Or prize-winner “Plan 75”), Somes of Strawdog Studio Production, Ria Atayde and Sylvia Sanchez from Nathan Studios and Michaelangelo Masangkay, co-owner of Toronto-based post sound house Theo & Atlas Productions Inc. with Fernando Henna.

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Hong Kong’s Soi Cheang Says Murderous ‘Mad Fate’ Is his Most Inspirational Film to Date

Patrick Frater Asia Bureau Chief The Berlin Film Festival is once again finding house room for Hong Kong’s most commercially successful enfant terrible, Soi Cheang, aka Cheang Pou Soi, who previously brought film noir “Limbo” to the Berlinale. This time he attends with “Mad Fate,” a film about destiny that may be Cheang’s most bloodthirsty, but which the director says is intended to be inspirational. It plays in the Berlinale Special section. Born in Macau, Cheang developed his career at the feet of Ringo Lam, Andrew Lau, Joe Ma, Wilson Yip and Johnnie To, the great stylists of the crime and action film genre across the Pearl River estuary in Hong Kong. To, who is on the Berlin jury this year, is also a producer on “Mad Fate” through his Makerville label.

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Karen Gillan and Marton Csokas Join Russell Crowe in Cold Case Crime Film ‘Sleeping Dogs’ (EXCLUSIVE)

Patrick Frater Asia Bureau Chief Karen Gillan, Marton Csokas, Harry Greenwood and Thomas M Wright join the cast of book-to-film crime drama film “Sleeping Dogs,” which shoots in Australia from next month. They join the previously announced Russell Crowe in the cast. The film is a book-to-film adaptation of E.O. Chirovici’s critically acclaimed novel, “The Book of Mirrors,” with a screenplay by Adam Cooper and Bill Collage (“Assassins Creed,” “Exodus: Gods and Kings”). The film also marks Cooper’s feature directorial debut. In the wake of a cutting-edge Alzheimer’s treatment, Crowe’s character, a former homicide detective, is tasked with re-examining a brutal murder case from his past – the grisly murder of a college professor (Csokas). Fighting to regain his memory, the detective enlists his former partner to help him revive the investigation. They encounter a magnetic and mysterious woman (Gillan), a tangle of contradictions and secrets and a horrific reality that changes the detective’s world view in the blink of an eye.

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Stunning Acting Debut by Mwajemi Hussein Elevates ‘The Survival of Kindness’ as it Juxtaposes Pandemic and Racism – Berlin Competition

Patrick Frater Asia Bureau Chief The intersection between Black Lives Matter and a COVID-like pandemic plus a standout performance from non-professional actor Mwajemi Hussein is sure to make “The Survival of Kindness” one of Berlin’s most talked-about films. The film is deliberately obscure – the little dialog that is heard involves each performer speaking in a language of their own invention with the meaning known only to that actor and the film’s director, Australia’s Rolf de Heer. And it is minimalist. Character names are purely functional. Location filming was done with a crew of just nine people who walked extensively across Tasmania and the deserts of South Australia and cooked for each other between set-ups.

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Glamour and Politics Take Center Stage as Berlin Film Festival Returns to Scale

Patrick Frater Asia Bureau Chief Anne Hathaway and Kristen Stewart delivered a dose of major glamour on the red carpet on Thursday as the Berlin Film Festival returned to full-scale, in-person operation for the first time since 2020. Ukrainian president Volodymyr Zelensky revived Berlin’s role as a political platform. The Hollywood stars were greeted by packed crowds outside the Berlinale Palast and by festival co-heads Mariette Rissenbeek and Carlo Chatrian.

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‘We’ve Increased Quotas,’ Says Berlinale, as Visitors Grapple With New Online Badge and Ticket Systems

Patrick Frater Asia Bureau Chief As the Berlin Film Festival and its accompanying European Film Market get under way at near normal levels for the first time since 2020, some things that seem new and different may not be. The ticketing system for festival and EFM badge holders has moved online and represents a new and frustrating institution for many participants this year – but it was in fact introduced in 2022, when the festival operated at a COVID-impacted smaller scale and the official market was held entirely online.

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