Variety Asia: Last News

Naman Ramachandran A heavyweight producers panel discussed the modalities of producing independent films in Southeast Asia at a mylab panel on the sidelines of the Busan International Film Festival on Thursday. Panelists included: Liza Diño, former chair of Film Development Council of the Philippines (FDCP) who had greenlit several films during her tenure; Indonesia’s Yulia Evina Bhara, producer of Venice-winner “Autobiography” that’s also playing at Busan; Thailand’s Donsaron Kovitvanitcha, producer of Locarno and Busan title “Arnold is a Model Student,”; and Malaysia’s Haris Sulong, producer of “Beautiful Mind.” The discussion was moderated by Variety Asia editor Patrick Frater.

Naman Ramachandran An influential panel of buyers from Asia and Europe identified multiple problems in the current, depressed post-pandemic box office landscape for arthouse films and attempted to find solutions at a Platform Busan panel on Monday. The panel included Laure Parleani of Totem Films (France), Kim Heaok of Hark & Company (Japan), Beril Heral of Filmarti (Turkey) and June Lee from Korean streamer Watcha. The panel was moderated by Variety Asia editor Patrick Frater. Parleani mentioned that France has had its worst box office September in 42 years, with only Rebecca Zlotowski’s Venice title “Other People’s Children” and Alice Winocour’s Cannes title “Revoir Paris,” both starring Virginie Efira, bringing some cheer amongst local fare.

Naman Ramachandran Leading practitioners of the Asian theatrical business participated in a lively discussion on the future of the sector post-pandemic and the signs are encouraging. Speaking at the APOS conference in Singapore on Thursday, moderated by Variety Asia editor Patrick Frater, Stephen Laslocky, VP at leading research firm Media Partners Asia, provided a handy overview of the theatrical market in Southeast Asia. Laslocky said that Indonesia, the largest market in the region, would be back to 2019 levels of theatrical business by the end of 2022. “In Malaysia, the demand generally appears to be back, the issue was the pipeline just wasn’t so great, particularly this year. But next year, they think that’s going to improve for both local, which has done very well this year, and for foreign films next year,” Laslocky said.