Asian TV Forum & Market 2025 opened its 26th edition confirming an already anticipated trend: the Asian market is now bigger, more technological and, for the first time, shows real global ambition. The region remains a strong and deeply local ecosystem, but has become more accessible to international players thanks to new entry routes (co-productions, strategic alliances and technology) that expand its reach.

The day began with the official ceremony led by Tan Kiat How, Senior Minister of State at Singapore's Ministry of Digital and Information Development. Before a packed auditorium, the minister highlighted ATF's role as a platform for talent and ideas, underscoring two forces that are redefining the industry: the unprecedented rise of micro-dramas and the emergence of AI in creation. In addition, Singapore announced a £200 million investment programme to boost the development, production and distribution of content with an international focus.

With 5.000 accredited attendees from 60 countries, 20 pavilions and the presence of the world's leading studios and platforms, the market kicked off with a packed agenda: “Trending Asia – Coproductions Unlocked”, “Masterclass: Unscripted Explained”, commissioning sessions and premium showcases from Shanghai, Korea and Japan, as well as the traditional lunch with Taiwan. In the afternoon, the panels focused on global storytelling, branding, AI, IP and production on a tight budget. The “K-Content & Format Showcase” (KOCCA) and “Drama Gems from Japan” (BEAJ) confirmed why Korea and Japan continue to lead Asian audiovisual exports.

One of the highlights was the panel by Anqi Liu (Glance): co-productions between Asia and the rest of the world are at an all-time high. Volume grew steadily between 2020 and 2025, reaching a record high this year. Fiction dominates with 80% year-on-year growth and a 74% presence in Asia-related premieres. Cases such as "Privacy Issue" (Netflix) or the Chinese-Japanese series on migration show the expansion of Asian storytelling. Intra-Asian alliances are also growing, such as "Micro Drama" (China–Singapore) or "Papamania" (Thailand–Singapore). In terms of platforms, Netflix leads the way, followed by Youku and Bilibili.

Another highlight was the keynote speech by Scott McCarthy (DreamWorks), who warned that, beyond all the hype surrounding AI, the real risk for brands is losing consistency. Using examples ranging from "Jurassic Park" to "Gabby's Dollhouse", he explained how small decisions can weaken the value of IP in different territories. His message was clear: consistency is not about aesthetics, it's about monetization.

The day revealed several clear trends: co-production as the main route to internationalization; the growth of premium Asian content; the expansion of unscripted as a scalable product; the central role of IP and branding; the intensive use of data for commissioning; AI applied to marketing and distribution; and low-budget productions with high creative impact.

Among the 20 pavilions, buyers highlighted those from Japan, India, Korea, China and Taiwan, along with the traditional stands of Warner Bros. Discovery, Sony Pictures Television, Paramount and NBCUniversal.

In the corridors, the mood was unanimous: energy, dynamism and a market in full swing. Trend testimonials? Liliam Hernandez (Universal Cinergia) highlighted the potential of Asian vertical content; Tram Tan (POPS Vietnam) confirmed the strong demand for anime and short formats; Simon Tchokonte (Dalino Media) is looking for Korean and Turkish dramas and Chinese micro-dramas; Hy Jin Moon (Superights) praised the strength of anime and webtoon adaptations; and Patricia Tsai (Sunrise Premium) said that the market allows her to find the right partners for each project.

With a vibrant closing at the “ATF Skyline Rooftop Bash”, the first day made it clear that Asia is more open, collaborative, and ready to consolidate its global influence.

Francisco Ferreyra, from Singapore

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