Ne Zha’s Dominance at Hong Kong Filmart 2025
The influence of Ne Zha is inescapable at the 2025 Hong Kong Filmart, evident in the myriad posters featuring this beloved character gracing bus stops and subway walls throughout the city. Conversations among attendees—film enthusiasts and industry insiders alike—are abuzz with excitement about China’s animated phenomenon.
Following its astonishing performance at the global box office, where Ne Zha 2 has amassed over $2 billion, this Chinese animation has firmly established itself as the highest-grossing animated film of all time. Naturally, the success has left the industry yearning for more content in this thriving genre.
HKIFF Embraces Animation Growth
This growing interest in animated films aligns perfectly with the objectives of the Hong Kong International Film Festival (HKIFF), particularly its Industry Project Market, which has recently expanded to include an animation segment. This expansion coincides elegantly with the rise of Ne Zha 2 and signal a timely opportunity to cater to the surging demand.
“The timing feels serendipitous,” commented Jacob Wong, the head of HKIFF Industry, which oversees both the Industry Project Market and the Hong Kong — Asia Film Financing Forum (HAF). “While we didn’t precisely forecast the success of Ne Zha 2, we’re thrilled with the outcome. Perhaps I should consider a future career as a film industry fortune-teller!”
A Glance at Recent Achievements
The initiatives under HKIFF have a notable history of supporting successful projects. Recent triumphs include the rural drama Living the Land, which earned the Berlin Silver Bear for Best Director for Huo Meng. Additionally, past accolades have been awarded to notable animated works like Liu Jian’s Art College 1994 and Yee Chih-yen’s City of Lost Things.
Investment in Future Animation Projects
This year, the HKIFF Industry Project Market and HAF offer over $250,000 across 24 awards, including cash and various in-kind prizes aimed at supporting 20 development categories for films still in progress. According to Wong, the first collection of submissions for the newly introduced animation section garnered approximately 50 entries, leading to the selection of six standout projects for presentation, three of which are still under development. Additionally, there will be two specialized animation seminars featured in the Filmart program.
“We’re pleased with the caliber of submissions,” Wong remarked. “As this is our inaugural year for the animation focus, we’re excited to see where it leads. If the response is positive, we may encourage other project markets to pursue similar paths.”
Spotlight on Upcoming Animations
Among the acclaimed projects showcased is A Mighty Adventure, helmed by notable animator Toe Yeun, known for the classic My Life as McDull. This new work, a collaboration between Taiwan and Malaysia, follows the thrilling journey of three determined insects—a grasshopper, a spider, and a butterfly—as they strive to forge their destinies.
Wong is particularly focused on harnessing the burgeoning animation landscape in China, where the industry generates an impressive $22 billion annually. He also notes emerging trends in other Asian markets, such as Indonesia, where local animation projections anticipate a value of around $6.6 billion by 2026.
“Indonesia has become a significant player in Southeast Asia’s animation sector, notably producing content for younger audiences, which has proven highly profitable,” Wong explained. “We’ve initiated collaborations with Jakarta Film Week, aiming to introduce two Indonesian projects to our platform, including an animated feature from veteran game developer Pelixiano titled Fly!, where a young boy uses a magical kite to connect with his late father.”
A Bright Future Ahead
The Jakarta Film Week, which launched in 2021, aims to promote and expand Indonesia’s growing film market, a mission that aligns closely with Wong’s goals for fostering global recognition of local films at Filmart.
“I believe this marks the beginning of something extraordinary,” Wong concluded. “With Indonesia currently averaging a new film release weekly—largely in genre formats that drive substantial revenue—there is a thriving production ecosystem in place. Coupled with an expanding animation sector, we are eager to establish connections with these creative communities.”