Hong Kong International Film & TV Market (FILMART) 2027

15–18 March 2027 at Hong Kong Convention and Exhibition Centre, Hong Kong, Hong Kong. The 31st edition is HKTDC’s international business marketplace for film and television content, bringing together film and TV production, distribution and rights licensing, co-production, broadcasting and streaming, and audiovisual production services. It is more than a showcase of screen content: buyers can compare rights opportunities, while producers and content owners can explore distribution, licensing and co-production conversations.

FILMART 2027 at a glance

The 2027 dates, venue and edition are listed by HKTDC. The latest detailed attendance and exhibitor figures available in the reviewed HKTDC industry profile are for 2025. Check current organiser information for daily opening hours and programme details before finalising travel or meetings.

Why FILMART matters to the screen-content business

Discover rights and content across markets

Film and television businesses work across theatrical release, television, streaming and other licensing channels. A content marketplace brings rights holders and potential buyers into one professional setting, where they can assess titles, territories, formats and rights requirements face to face. For buyers, the value is the ability to compare content against a defined acquisition brief. For producers, it is a place to understand which distributors and platforms may be relevant to a project.

Compare distribution routes

Hong Kong’s screen sector works through cinema chains, distribution companies, broadcasters and streaming services. FILMART’s film and TV focus makes it relevant to professionals evaluating how a title or programme could travel between release channels. Buyers should distinguish theatrical, television, streaming, remake and other rights rather than treating a title as one undivided package.

Build cross-border relationships

The 2025 edition attracted delegates from 42 countries and regions, according to HKTDC Research. That international participation gives companies a reason to prepare specific territory and language priorities rather than relying on broad networking. A producer seeking a regional distributor has different questions from a broadcaster filling a programme schedule or an investor assessing a co-production.

Use scale as context, not a promise

• More than 760 exhibitors at the 2025 edition, as reported by HKTDC Research.
• More than 7,600 delegates from 42 countries and regions at the 2025 edition, as reported by HKTDC Research.
• The figures describe the 2025 event, not a forecast or guarantee for 2027.

This scale suggests a broad marketplace in which a prepared shortlist matters: the commercial value comes from identifying relevant rights holders and following up, not from collecting the largest number of contacts.

Film, television and audiovisual sectors at FILMART

The market is centred on screen content and its commercial circulation. The groups below reflect the film, television, distribution, production and audiovisual services activity documented for Hong Kong’s industry; the final 2027 exhibitor mix should be checked with HKTDC as it is published.

Film rights and distribution

• Feature-film rights for theatrical release
• Distribution rights by territory and release window
• Acquisition of film titles for local or regional audiences
• Remake rights and adaptation discussions
• Release planning across cinema and other distribution channels

Television programmes and licensing

• Television drama and programme content
• Pre-packaged programme libraries
• Programme licensing for broadcasters
• Satellite and other television distribution rights
• Content packages for mobile and online viewing services

Streaming and digital distribution

• Subscription video-on-demand content rights
• Digital release windows and territory packages
• Programme libraries for streaming services
• Rights management across broadcast and online channels
• Distribution discussions for international audiences

Film and television production

• Feature-film production projects
• Television drama and programme production
• Production-related audiovisual services
• International production and financing discussions
• Project evaluation for distribution or commissioning

Co-production and cross-border collaboration

• Film co-production proposals
• Television co-production and programme collaboration
• Creative and production partnerships across markets
• Rights, responsibilities and territory planning for joint projects
• Potential production-service relationships

Virtual production and screen-production technology

• Virtual production methods
• Extended-reality and virtual-reality production applications
• Digital environments and screen-based production workflows
• Technology and service discussions for production houses
• New production approaches for film and television content

These product groups describe the industry scope, not a confirmed list of 2027 exhibitors. Use the organiser’s current exhibitor information to verify which companies and projects will be present.

Who should visit FILMART?

Content buyers, distributors and sales companies

Useful if you are sourcing titles or evaluating rights for a defined territory, release channel or audience. Prioritise:

• Film and television rights holders with relevant catalogues
• Titles available for your territory and preferred release window
• Theatrical, broadcast, streaming and remake rights as separate possibilities
• Language, subtitling, dubbing and delivery requirements
• Exclusivity, term, holdbacks and rights-chain documentation to clarify
• Distribution fit, marketing obligations and release timing

Bring an acquisition brief and a rights checklist. The market’s value for a buyer depends on whether content matches actual programming or distribution needs.

Producers, studios and content owners

Useful if you need to develop a project’s route to market, find distribution conversations or test interest in a catalogue. Focus on:

• Projects ready for a specific type of partner or stage of financing
• Content rights that are available, retained or already licensed
• Territories and release channels you want to explore
• Production materials and concise, shareable project information
• Potential co-production or adaptation discussions
• Next steps for evaluating interest after the meeting

Separate confirmed rights from rights still under negotiation. A clear rights position makes a commercial conversation more useful.

Broadcasters and streaming platforms

Useful if you are assessing programme acquisitions, filling a schedule or extending a content library. Consider:

• Genre, format, episode count and target audience
• Territory availability and language versions
• Premiere status and release-window restrictions
• Programme delivery and technical specifications
• Potential fit with existing programming or platform strategy
• Rights term, exclusivity and renewal conditions

Prepare a short content brief so meetings can focus on programming fit and rights availability rather than general introductions.

Audiovisual service and production-technology companies

Useful if your company works in production services or virtual production and is seeking relevant industry relationships. Prepare to explain:

• The services and production stages your company supports
• Types and scale of projects suited to your capabilities
• Technical requirements and workflow compatibility
• Locations, crew or partner needs, where relevant to a project
• How a prospective client can evaluate your work and capacity

Use the event’s content-market context to identify producers and project owners whose production needs align with your offer; do not assume every attendee is seeking services.

Why visit FILMART?

1. Find content for a defined market: compare film and television titles against a territory, audience and release-channel brief.
2. Clarify rights availability: establish what is available for theatrical, broadcast, streaming, remake or other exploitation and where.
3. Compare distribution options: discuss how content could fit cinema, television and online channels rather than relying on one route.
4. Explore production partnerships: use project-specific conversations to assess co-production or audiovisual service possibilities.
5. Understand regional content flows: speak with industry participants about distribution, co-production and cross-border market requirements.
6. Turn introductions into decisions: record the rights, materials and follow-up information needed to assess each opportunity after the event.

Why exhibit at FILMART?

FILMART may suit film and television producers, rights holders, distributors, programme suppliers and audiovisual service companies that have a clear international business objective. Exhibiting can provide a structured setting to present a catalogue, introduce projects, discuss rights availability and meet professionals from different markets. HKTDC Research reported more than 760 exhibitors and delegates from 42 countries and regions at the 2025 edition; these are historical organiser-side figures and do not guarantee a particular buyer profile or commercial result in 2027.

Before committing, define the outcomes you want to explore: rights sales by territory, distribution partners, programme licensing, co-production contacts, project visibility or production-service relationships. Prepare a concise company profile, rights position, project materials and meeting priorities. Check the organiser’s current participation package for the 2027 format, stand options, costs, deadlines and eligibility. ilikevents can help exhibitors assess participation planning, coordinate organiser communication and prepare a market-focused approach.

Market-entry note: Hong Kong’s audiovisual services have preferential access to parts of the mainland market under CEPA measures, but these provisions apply subject to service-supplier status, regulatory approval and the specific measure. Exhibitors should confirm eligibility, rights, approvals and contractual conditions for each proposed activity rather than assuming the benefit applies to every foreign company.

What makes FILMART distinctive?

It connects screen content with the business of moving that content across distribution channels and markets. FILMART is an annual HKTDC market; the 2027 edition is identified as its 31st. HKTDC Research describes the event as a four-day conference and exhibition, with more than 760 exhibitors and 7,600 delegates from 42 countries and regions in 2025. Hong Kong’s film and television sector includes cinema distribution, broadcast and streaming channels, production services and cross-border co-production activity. That combination makes rights, territory and channel questions central to a useful visit.

The distinction is commercial rather than a promise of a particular programme. Check the current exhibitor and programme information for 2027 and treat previous-edition activity as context, not a guarantee that the same participants or sessions will return.

What should you try to achieve at FILMART?

“See what is new” is too broad for a content marketplace. Set an objective that leads to a decision or a defined follow-up.

If you are a content buyer

Identify a shortlist of titles that match a specific territory, release window and rights package. Record which rights are available, what materials you need and who can confirm the rights chain.

If you are a producer or rights holder

Find the most relevant distribution or co-production conversations for one project or catalogue. Define which territories and channels you want to discuss and what evidence of rights ownership you can share.

If you are a broadcaster or streaming platform

Build a focused list of programmes that fit a commissioning or acquisition brief. Capture format, language, availability, delivery and rights-term questions for each candidate.

If you provide production services

Identify prospective projects or production partners whose needs align with your specific technical capabilities. Prepare a concise explanation of workflow, capacity and project fit.

How to prepare before FILMART

1. Define your commercial brief

Write down what you want to acquire, sell, license, distribute or develop. For buyers, identify territory, audience, format and release channel. For producers, separate completed content from projects in development and state which rights remain available.

2. Build a target list

Use the official exhibitor information when the 2027 list is available. Identify rights holders, distributors, broadcasters, platforms or production-service companies that fit your brief. Classify them as A — must meet, B — useful to meet and C — explore if time allows. Do not assume a company from a previous edition will return.

3. Request meetings with a specific question

State the territory, type of rights or project you want to discuss. A targeted request helps both sides decide whether the meeting is relevant. If the current organiser offers a meeting or registration tool, check its instructions and deadlines on the official site.

4. Prepare the right materials

• For rights holders: a concise catalogue, synopsis, genre, format, language versions and rights availability by territory and channel.
• For buyers: a short acquisition brief, intended audience, delivery requirements and preferred release window.
• For producers: a project summary, development stage, rights position and partner profile sought.
• For service providers: capabilities, workflow, technical requirements and examples that can be shared lawfully.

5. Prepare rights and delivery questions

Ask whether rights are exclusive, which territories and platforms are included, what the term is, what rights are reserved, whether subtitling or dubbing is available, what delivery materials are required and how approval or reporting works. For co-production, clarify responsibilities, financing assumptions, ownership and distribution before treating an introduction as a project agreement.

6. Confirm participation details

HKTDC’s participant-registration information states that online visitor registration opens in mid-December 2026 and closes on 9 March 2027; it is for trade visitors over 18. Confirm the current registration requirements, entry conditions and daily opening hours before travel. Exhibitors should check the current participation package and organiser deadlines. ilikevents can help visitors with registration and visit planning and exhibitors with participation planning and organiser coordination.

How to make the most of the exhibition

Do not collect every catalogue or meeting. Use a simple record for each relevant conversation:

Company or rights holder → title or service → territory and channel → rights status → evidence or materials needed → next action and owner.

For a film acquisition conversation, record whether theatrical, television, streaming and remake rights are being discussed separately. For a programme-library conversation, note format, episode count, language versions and territory availability. For a co-production discussion, record the proposed partner role, project stage and the information needed for a proper feasibility review.

Keep a short list of priority meetings and leave time to compare notes between them. If you receive a large volume of material, mark each item as immediate fit, possible fit or background research. This makes the follow-up more selective and helps you avoid confusing interest with a confirmed rights offer.

Plan your time realistically

The 2027 event runs for four days. The right visit length depends on the number of meetings and the breadth of your acquisition or project brief, not on the idea that every attendee needs to attend every day.

• One day: concentrate on pre-arranged priority meetings and a defined set of rights or supplier conversations.
• Two days: allow time for meetings plus comparison of content, distribution options or production partners.
• Three or four days: consider this when you have multiple market objectives, several territories to cover or a programme of meetings that warrants deeper follow-up.

Build buffer time for moving between meetings and recording rights details. The current official listing should be checked for daily hours and any schedule changes.

Beyond the exhibition floor

HKTDC Research describes FILMART as a conference and exhibition. The 2025 event therefore combined the content marketplace with a conference component, but previous-edition topics and participants should not be assumed for 2027. Review the current programme when HKTDC publishes it and prioritise sessions that answer a concrete question about rights, distribution, production or market access. If a session is not yet listed in the current official information, do not build a meeting plan around it.

Networking for content and rights business

Prepare a short introduction that states what you do, what content or rights you are looking for, which territories or channels matter and what a useful next step would be. Keep an acquisition discussion specific: title or format, rights package, territory, term and materials. For a producer, state the project stage and the partner sought. For a service company, explain the production task and technical capability you support.

After each meeting, write down who owns the next action and when it should happen. A card or contact exchange is only the start; the useful outcome is a clear request for rights information, materials, a second discussion or a defined internal review.

FILMART visitor profile and business opportunities

These interests describe professional reasons to attend; the actual 2027 attendee mix and exhibiting companies should be verified through current HKTDC information.

Travelling to FILMART

FILMART is held at the Hong Kong Convention and Exhibition Centre (HKCEC) in Wan Chai. The venue’s visitor information says the centre can be reached on foot from Exhibition Centre MTR station, Wan Chai MTR station or the Wan Chai ferry pier in about ten minutes. From Hong Kong International Airport, HKCEC lists an Airport Express and MTR journey of about 40 minutes, a taxi journey of about 45 minutes, and a bus connection of about 80 minutes. These are indicative venue estimates; check the route and service conditions for your travel time.

Use the venue’s official location and transportation information for route details, and check event-specific access arrangements before departing. ilikevents can help visitors plan local transportation and airport transfers as part of an overall visit plan.

Practical information for international visitors

Confirm travel, entry and accommodation requirements for your own circumstances before departure. Visa rules depend on nationality; ilikevents can assist with visit planning and visa application support.

One day or several days at FILMART?

A short visit can work when your purpose is narrow and priority meetings are confirmed. A longer visit may be useful when you are comparing multiple rights packages, discussing several territories or combining buyer, distributor and production objectives. For each day, protect time for scheduled meetings, a focused review of the exhibitor information and a written end-of-day comparison. The 2027 event’s four-day schedule gives participants a range of planning options, but the current daily opening hours and programme should guide the final itinerary.

FILMART is especially valuable if you have a project

Bring a project brief rather than relying on a general introduction. For a film or television title, prepare a synopsis, format, language information, production status, rights ownership and rights available by territory and channel. For a co-production, state the project stage, the partner role sought, known financing assumptions and the information still to be agreed. For a distribution or platform acquisition, define audience, territory, release window, delivery requirements and rights term. For virtual-production or audiovisual services, explain the production workflow, technical capability and project scale that fit your offer. Share only material you are authorised to present and confirm confidentiality terms before disclosing sensitive information.

After FILMART: where the real value starts

Within a short time after each meeting, sort contacts into three groups: A — immediate review for a rights offer or project with a clear next step; B — potential for a relevant conversation that needs more information; and C — market intelligence for contacts or insights that inform future decisions. Follow up with a specific request rather than a generic thank-you.

• For film and TV rights: request the rights grid, territory availability, term, exclusivity, language versions and delivery materials.
• For programme licensing: confirm format, episode details, broadcast or platform rights and any schedule conditions.
• For co-production: request a project dossier, partner-role outline and the information needed for a structured feasibility discussion.
• For audiovisual services: confirm the technical scope, capacity, workflow and project requirements.

Record who is responsible for each action and when it will be completed. Compare opportunities against your business brief before making a commitment. A promising introduction is not the same as an agreed rights licence, distribution appointment or production partnership.

FILMART visitor checklist

Before

• ☐ Define your acquisition, distribution, production or partnership objective.
• ☐ Check the official registration route and trade visitor requirements.
• ☐ Build an A/B/C target list from current exhibitor information.
• ☐ Prepare a rights, territory and release-channel brief.
• ☐ Request meetings with a specific commercial question.
• ☐ Confirm venue access, travel time and daily opening hours.

During

• ☐ Separate rights by territory, channel, term and exclusivity.
• ☐ Record project stage, rights status, materials needed and next action.
• ☐ Prioritise relevant discussions over unplanned catalogue collection.
• ☐ Review notes at the end of each day and identify urgent follow-ups.

After

• ☐ Send specific requests for rights, programme or project information.
• ☐ Assign an owner and deadline to every promising follow-up.
• ☐ Compare opportunities with your audience, territory and commercial brief.
• ☐ Keep exploratory interest distinct from a signed agreement.

Is FILMART worth visiting?

FILMART is most useful for professionals whose work involves film and television content, rights, distribution, programming, production or audiovisual services. Buyers benefit when they arrive with territory and channel requirements; rights holders and producers benefit when they can state what is available and which partners they need. Broadcasters, platforms and service companies need a clear brief to focus their meetings. Walking the marketplace without a plan can create a large volume of material but few actionable decisions. Prepare, compare and follow up systematically to make the time more valuable.

Make your time in Hong Kong count

What decision do you need to make about content, rights or partners that you could not make through online research alone? Let that question guide your meetings and your follow-up.

Discover. Compare. Meet. Decide. Follow up.

Film and television opportunities in Hong Kong

Market size and demand

Hong Kong’s audio-visual production and related-services exports reached HK? million in 2024, up 27.6% year on year, according to HKTDC Research citing Hong Kong’s trade-in-services statistics. This measures exports of production-related services, not the total value of the film and television market; it indicates cross-border service activity relevant to producers, rights holders and production partners. The same HKTDC Research profile reports that local box-office receipts, including foreign films, were HK?.131 billion in 2025, down 15% year on year, so domestic theatrical performance should not be treated as evidence of broad-based growth.

• Audiovisual production and related-services exports: HK? million in 2024, up 27.6% year on year; a trade-services measure, not total industry revenue.
• Hong Kong box-office receipts: HK?.131 billion in 2025, including foreign films; down 15% year on year.
• Motion picture, video and television programme establishments: 3,106, with 8,990 people employed outside the civil service in September 2025, according to the Census and Statistics Department figures cited by HKTDC Research.

Market drivers and commercial opportunities

Hong Kong’s domestic market is limited in size, and HKTDC Research describes local film businesses as reliant on overseas revenue, with Asia accounting for most foreign sales income. Film and programme rights move through cinemas, distributors, broadcasters and streaming services; the profile also identifies Hong Kong as a continuing co-production partner for the mainland and documents local virtual-production activity. These conditions support several areas to investigate, while neither export data nor the event guarantees a commercial outcome.

• Film and television rights distribution: producers and rights owners may assess distributors and buyers for defined territories and release channels. Confirm rights ownership, available windows, language versions and territory restrictions.
• Programme and streaming licensing: broadcasters, platforms and content suppliers may explore library or title fit across television and subscription video-on-demand. Validate audience fit, platform requirements, delivery formats and licensing terms.
• Co-production and regional partnerships: producers may investigate collaboration with Hong Kong companies and partners familiar with regional production and distribution. Clarify financing, creative roles, rights, approvals and the route to market before advancing a proposal.
• Production services and virtual production: production companies and service providers may assess project-specific relationships involving audiovisual services or virtual production. Confirm the required workflow, capacity, technical setup and project economics directly.

Regulations and market-entry conditions

• CEPA audiovisual services measures: HKTDC Research states that the second amendment to the Mainland–Hong Kong CEPA Trade in Services Agreement took effect on 1 March 2025 and introduced further liberalisation measures for film and television. Access depends on the specific measure, Hong Kong service-supplier status and relevant approvals; companies should verify eligibility and requirements for each activity.
• Public film exhibition and classification: films intended for public exhibition in Hong Kong must be examined and classified under the Film Censorship Ordinance and its amendments. The HKTDC profile notes amendments effective 5 November 2021. Confirm the current process and requirements with the relevant authority before a release.

What this means for exhibitors

Rights holders, producers and service companies may use FILMART to test the relevance of Hong Kong-linked distribution, programme licensing, co-production or audiovisual services against a specific business plan. The export indicator is a defined services measure, not a forecast of demand for an individual company. Confirm the counterparty, rights position, eligibility and market-specific approvals before making commercial commitments.

What this means for visitors

Buyers, broadcasters and production professionals may compare content, distribution routes and potential partners with Hong Kong’s regional role in film and television. Use the event to identify questions and relevant counterparties, then verify rights, delivery, regulatory requirements and project capacity directly. The 2025 box-office decline is a reason to examine channel and territory assumptions carefully rather than relying on a general growth narrative.

Explore Event Opportunities

Use FILMART to find relevant content, distribution partners or production relationships and build a participation plan around your business objective. ilikevents can help you prepare for a visit or assess exhibitor participation.

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