Asian Content & Film Market (ACFM) is placing itself for major transformation as it celebrates its 20th anniversary alongside the 30th milestone of the Busan International Film Festival, according to market director Ellen YD Kim.
Speaking to Variety, Kim outlines an ambitious vision that goes far beyond ACFM’s traditional role as a film sales venue. “We’ve evolved beyond just trading venues to a dynamic intersection where creators, investors and platforms converge to stimulate new opportunities that reflect the Asian content landscape,” she says.
Rather than simply commemorating the anniversary, Kim sees it as “a crucial moment to transform current challenges into opportunities based on 20 years of achievement.” To that end, ACFM introduced what she describes as a “comprehensive, innovative program.”
The most important addition to the market this year is “Innoasia.” It is an innovation platform that connects leading AI companies such as Google, Openai, Midjourney and Amazon Web Services with Korean AI creative studios and tech startups in Asia. The platform will feature meetings on AI and storytelling, creator bootcamps, and practical experience zones such as Innostage and exhibition booths.
“This year we launched Innoasia, which has launched an innovation platform that highlights the transformative impact of AI and advanced technologies on content creation,” says Kim. The multi-faceted platform “equipped with practical tools and education for creators, providing businesses with networking and investment opportunities, and providing ACFM as a hub that evolves beyond discourse towards tangible industry outcomes.”
“The line between traditional films, series, animation and immersive content is rapidly blurring,” explains Kim. “What we see is the emergence of a content ecosystem where a single IP spans multiple formats,” she emphasizes, “as the fundamental source of all content, it has a very high potential for expansion, so it can be adapted to any format.”
This evolution of technology reflects the broader changes in buyer behavior that Kim observed across the market. “Buyers are increasingly thinking about franchise and multi-platform storytelling rather than restricting to a single format. More importantly, we see that buyers want to not only buy finished products, but also as co-producers and investors in the IP and creative development process, but also engage with projects earlier.”
When combined with producers who are actively seeking strong IP, Kim said, “The market is fundamentally changing. It will evolve from a market for finished goods trading to one that focuses on opportunities to acquire original sources and invest in production.”
The market records another milestone in which the Asian Project Market (APM) has set new submission records. 30 selected projects from 15 countries tackle global issues such as inequality, gender rights, LGBTQ+ themes, war and borders.
Kim emphasizes the strong expression of the director, who has a ties in Busan, an Asian Film Academy alumni, and an Asian female creator. Seven new projects spanning adult dramas from Korea alone to occult horror are calling for opportunities for international co-production. “I feel that inclusion of directors like Kajiya and Yoon Eun-kyung, who bring a distinct genre of sensibility, is particularly refreshing,” she points out.
The market is also expanding co-production support through practical initiatives. The producer’s hub program will promote “critical networking and matchmaking that is essential for co-production,” and ACFM will expand partnerships with film institutions and institutions across the country to promote support for international collaboration.
The ACF Co-Producing Support Fund will fund production for this year’s project, with expansion planned for next year. “We look forward to stronger support from the Korean Film Council in the joint production initiative,” Kim says.
Supporting these efforts is “A Report,” which summarises industry data and market trends from 17 Asian countries, and “forms the information foundation for collaboration.” Furthermore, the “summit” provides policy insights and promotes institutional cooperation between Asian countries.
New Current and Kim Ji-Jok Section and Vision Structural changes in Biff, including the merger into Asia and the creation of new competitive sections, are creating new opportunities for the market side. Kim sees integration as “an evolution into Vision Asia,” and believes that the new competition is emerging as a clear main section.”
Vision Asia connects with Vision Korea, “promoting real interactions between Korean and Asian filmmakers and celebrating independent films through numerous awards,” and the competition “strengthens Biff’s role as a platform to collect Asian best films.”
On the market side, ACFM “deepen connections by supporting sales agent matchmaking, P&I screening, and targeted referrals on territory where distributions are not yet secured.” While new competition takes time to establish itself, Kim points out, “from a market perspective, it sends a clearer signal to buyers and investors.”
With global markets such as Cannes’ Marquet Du films and the American film market gaining attention, Kim has identified ACFM’s unique strengths as “the identity as a hub of Asian content, the barriers to low entry that promote open participation, and the scalability that allows a diverse range of story-driven content to flourish.”
The market brings together creators, investors and buyers from across Asia “in a unique, diverse, global market.” What also stands out for ACFM is “synergy with Biff – providing an inseparable fusion of artistic discovery and industrial opportunities, creating a double appeal that is appealing to international representatives.”
Unlike the BIFF Forum, “which tends to be more theoretical and academic in nature,” the market is designed to “organically connect discourse that reflects professional market trends with project pitching, showcases and industry networking.” This creates an environment where “specific discussions that are closely aligned with market reality and trends may directly evolve into opportunities and co-production partnerships.”
“ACFM’s central mission is to directly bridge discourse with business inspiration and opportunity,” Kim emphasizes. “We don’t just encourage conversations about the industry. These conversations create spaces that quickly lead to concrete business outcomes and collaborative ventures.”
Kim assumes that ACFM was built on five pillars. “Asian cooperation and policy, story development and IP trading, co-production support, distribution and overseas sales, the intersection of technology and content.”
While “co-production and secondary markets, centered on Asian films, are our roots,” Kim “hopes to navigate the wave of market change by absorbing the power of storytelling and future growth engines through innovative technology.”
Five years from now, she assumes ACFM will become “a platform that covers all the compelling aspects of Asian content.” While focusing on film, the market “establishes itself as an inclusive Asian content hub that spans animation, series, new media and technology-based content.”
Importantly, Kim emphasizes that “not replacing existing Film Industry Foundations, but expanding it to create synergy.”
The transformations Kim explains are just the beginning of a wider evolution. “We are building an ecosystem where Asian stories can find the most powerful representation in all forms,” Kim concludes.
