Shures Ratnakrishnan and YK Tung, both from Malaysia, noted that the cultural ties and shared preferences, especially the Muslim religious background, between Malaysia and Indonesia have increased the appeal of cross-border film distribution, which has recently extended to Pakistan as well. Tung added that in terms of film genres, horror and thriller films are the most popular in Malaysia, as they cater to the large population of 18% Chinese audience in the Malaysian film market and are also easier to produce and distribute in Southeast Asia.

Richard Juan from the Philippines shared that the Filipino industry and market currently focuses on drama and romance films, with family-centered movies often topping the box office. However, the decline in cinema audience is a major challenge, as many people prefer to wait for films to be released on streaming platforms. Therefore, producers are working hard to create compelling stories that can generate buzz on social media, encouraging audiences to go to the cinemas. An example he cited is the film “How To Make Millions Before Grandma Dies”, which became a social media sensation, with people sharing videos of themselves crying after watching the film, sparking curiosity and driving more audiences to watch it in theaters.

Michael Chai, a distributor from Cambodia, shared that horror films made locally account for 25% of the market share and are growing at a certain rate, while Thai films are the major foreign films. With the improvement in the quality of Cambodian film production and the widespread adoption of digital platforms, strategic content procurement and marketing have become more effective. Chai commented, “Transnational cooperation and co-production are becoming more common, reflecting the trend of regional integration in the Southeast Asian film market. This mode of cooperation has improved the quality and influence of Cambodian films.”

Hong Kong producer Kinnie Cheung shared that Hong Kong is known for its comedies, action, and horror films. In addition to mainstream genres, there is also a vibrant arthouse film market. She shared, “Hong Kong films are usually released locally first, then depending on demand and budget, they are expanded to the mainland Chinese and global markets.” Recently, the film “Twilight of the Warriors: Walled In” has received quite impressive response in the Chinese film market as reflected in its box office performance, which has boosted the confidence of Hong Kong films in expanding into the Asian film market.