Studio 100 Rides Animation Wave as Hong Kong Market Takes Aim at Booming Toons
The gobsmacking success of Chinese animated feature 'Ne Zha 2,' which recently topped $2 billion in China to become the first ever to break that record in a single market, has got toon-makers in Asia, well, animated…
More from Variety
Hong Kong's FilMart Gets Animated as More Toons Join Project Market Lineup
Aaron Kwok Drama 'IOU' Unveiled by Distribution Workshop at Hong Kong FilMart
'Game of Thrones' Star Iain Glen Joins TBA Studios' Philippines Historical Biopic 'Quezon' (EXCLUSIVE)
'Ne Zha 2' is now well on track to become one of the six best-performing movies of all time.
These are heady days for toons in Asia. The HKIFF Industry Project Market has seen a staggering 60% jump in animation submissions versus last year — of the 48 projects in the project market, six are toon features.
'Animation may be an area that Hong Kong is trying to play a role to become some kind of a hub that people can come and exchange ideas and projects … we think this may be an area for growth,' HKIFF industry director Jacob Wong told Variety.
'We have people coming in from Japan, a traditional powerhouse production country for animation. And then we have people coming in from China, who recently produced this mega-box office animation hit ('Ne Zha 2'). And then we have people coming in from Indonesia, which is a major animation production country in Southeast Asia. They do a lot of animation for children, which is a really big market,' said Wong.
The animation slate in the project market comprises both industry veterans and rising toon talents, including Hong Kong director Toe Yuen ('My Life as McDull,' 2003 Annecy best film winner) whose 'A Mighty Adventure' (Taiwan, Hong Kong, Malaysia) was shot live in Taiwan, with 90% of computer animation completed in Malaysia.
The development slate includes Kunming-born artist Gao Yuan's 'Cloud of the Unknown' (Hong Kong, France), backed by producer Isabelle Glachant. Gao's previous short of the same name premiered at Locarno 2020, winning the Arte Laguna prize.
Mumbai-based Triparna Maiti brings 'The Tale of the Holy Beast' (India), which previously pitched at Annecy's Mifa market, the Busan Asian Project Market and Seattle's Tasveer Film Market. Rounding out the animation slate is Xu Zao's 'Light Pillar' (China), produced by actor-director Da Peng.
Among the companies hoping to ride the wave of Asian animation is success is Munich-based family entertainment specialist Studio 100 Film. After securing strong international sales across multiple territories for 'Miss Moxy' and 'North', Studio 100 Film is seeking Asian distribs at FilMart for its slate of animated films.
As well as 'Miss Moxy' and 'North', Studio 100 Film is bringing 'Rally — From Paris to the Pyramids', helmed by Rasmus A. Sivertsen ('Captain Sabertooth and the Magic Diamond') and written by Rob Sprackling ('Gnomeo & Juliet'). The film is set for delivery at the end of 2025.
'The global animation market remains vibrant, with a strong appetite for independent productions. However, given the saturation of animated content in the market, quality has become the key differentiator. Distributors are seeking well-crafted stories with broad audience appeal, ideally on strong Ips,' said Lucrecia Magnanini, who manages sales and acquisition at Studio 100 Film.
'We are closing strong deals in markets like Taiwan and Vietnam, which reflects the ongoing potential for quality animated content,' she said.
Best of Variety
New Movies Out Now in Theaters: What to See This Week
Oscars 2026: First Blind Predictions Including Timothée Chalamet, Emma Stone, 'Wicked: For Good' and More
What's Coming to Disney+ in March 2025
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
USA Today
18 hours ago
- USA Today
Meet the new Karate Kids of 'Legends': Ben Wang and Aramis Knight
Meet the new Karate Kids of 'Legends': Ben Wang and Aramis Knight Show Caption Hide Caption 'Karate Kid: Legends' trailer: Ralph Macchio teams with Jackie Chan Ralph Macchio's karate sensei and Jackie Chan's kung fu shifu work together to train a martial arts prodigy in "Karate Kid: Legends." In every 'Karate Kid' movie, there's a teen hero and an absolute jerk of a bully. The original 1984 movie featured Ralph Macchio getting pummeled mercilessly until he finally beat William Zabka, though their rival characters became friends in 'Cobra Kai.' Then there's 1994's 'The Next Karate Kid,' which gave us Hilary Swank vs. young Walton Goggins. A couple of new enemies, both 25, enter the fray in 'Karate Kid: Legends' (in theaters now). Ben Wang plays Li Fong, a kung fu-trained youngster recently moved to New York City, and Aramis Knight is Conor Day, a karate-champ classmate who seethes after the newcomer befriends Conor's ex (Sadie Stanley). Trash talk and beatdowns commence, all leading to a faceoff in the championship of a local karate tournament. Join our Watch Party! Sign up to receive USA TODAY's movie and TV recommendations right in your inbox Director Jonathan Entwistle says Wang has a 'Marty McFly quality' to him, playing a Chinese Peter Parker-type character, and he told Knight he was 'playing something actually quite iconic: the bad guy in a cool outfit.' Time will tell if their characters hug it out 30 years from now, 'Cobra Kai' style, for a Netflix show. In the meantime, here's what fans of these new karate kids need to know about Wang and Knight: Ben Wang shares a similar origin story to new 'Karate Kid' In 'Legends,' Li Fong relocates from his native undefined with his mother (Ming-Na Wen). Wang finds a parallel to his own life story, but with a twist: He moved from Shanghai to small-town Northfield, Minnesota, with his mom when he was 6, and ended up at drama school in the Big Apple. 'I didn't have to dig very deep for a lot of the stuff. Mostly the hardest part was the squats,' says Wang, who starred in the Disney+ series 'American Born Chinese' and also appeared in the movies 'Mean Girls' and 'Chang Can Dunk.' His next film is the Stephen King dystopian horror adaptation 'The Long Walk' (undefined) and Wang has also been cast in next year's 'Hunger Games' prequel 'Sunrise on the Reaping." Like his 'Karate Kid' character, Wang trained in martial arts early, doing after-school taekwondo, and has studied other Chinese forms like Wing Chun kung fu. The acting aspect, however, came when he realized, 'I wasn't any good at sports, and I wanted friends.' Wang's first play at age 10 was 'A Midsummer Night's Dream,' he says, 'but it wasn't Shakespeare's 'Midsummer Night's Dream.' ' Still, "I was like, oh, I've never actually had that kind of fun before in my life. I mean, I had no plan to do it professionally, but it ended up working out for the best." Aramis Knight earned his martial arts stripes in the 'Badlands' Knight might seem like a Hollywood newcomer, but he's already built an extremely varied 20-year career, on shows including 'Lost,' 'Dexter' and 'NCIS,' plus movie roles in 'The Dark Knight Rises' and 'Ender's Game.' Most noteworthy, however, is his action-packed TV work: Knight starred in the post-apocalyptic drama 'Into the Badlands' as well as Marvel's 'Ms. Marvel.' 'Badlands' was 'the perfect crash course' in martial arts, and co-star Daniel Wu became his mentor in wushu. The night he heard he got the role, "I remember me and my mom just thinking like, 'Damn, how am I going to do this?' " While he was "fairly athletic" and played a lot of basketball when he was younger, "I was not flexible at all," he says. "undefined' After training and doing the show for three seasons, 'I'm pretty sure I tore and rebuilt every muscle imaginable just to get to the point where I'm at now,' Knight says. 'I'm by no means an expert but I'm no slouch. I can definitely look like I'm very good at it.' Knight wants to play 'bigger-than-life, almost unrecognizable' characters, yet "it's harder when you're young to play those like Gary Oldman-esque parts,' he says. Being a karate villain is a step in that character actor direction. 'You kind of get the free pass to do things that you wouldn't normally do in your real life. Just be a little more disrespectful than Aramis would personally ever be,' Knight says. 'I'm an integral part in Li Fong becoming this triumphant hero. There's got to be sort of a fall from grace, and that's really what Conor is for Li. 'I wanted to fill those shoes and be this iconic but also traditional 'Karate Kid' bad guy. I felt like I was carrying the torch a bit.'
Yahoo
21 hours ago
- Yahoo
New world no. 1 Kunlavut seals Singapore crown in style
Kunlavut Vitidsarn of Thailand is the new number one (Roslan RAHMAN) Kunlavut Vitidsarn celebrated becoming the first man from Thailand to top the badminton world rankings by winning the Singapore Open in style on Sunday. The 24-year-old demolished China's unseeded Lu Guangzu 21-6, 21-10 in just 37 minutes with his range of powerful smashes and deceptive drop shots. Advertisement Paris Olympics silver medallist Kunlavut will replace another Chinese player, Shi Yuqi, as world number one in a landmark for Thai badminton. It was his fourth title this season. "There will be pressure to be the best player in the world, but it's going to be a good pressure as that will give me the added motivation of doing my best to win all the tournaments I take part in," said Kunlavut, who lost the Paris final to Viktor Axelsen. Denmark's two-time Olympic champion Axelsen, the former number one, is currently working his way back to fitness following surgery for a back problem. Advertisement In an all-Chinese women's final at the Singapore Indoor Stadium, the fifth seed Chen Yufei outplayed second-seeded Wang Zhiyi 21-11, 21-11. Chen was runner-up to world number one An Se-young last year. Chen ended the South Korean's unbeaten run in 2025 by defeating her in the quarter-finals this year. "I'm really very happy with this win because the draw was not exactly in my favour and every match felt like a battle," said Chen. "To make it all the way to the final was honestly something unexpected. "I felt like I was not under too much pressure this time, so I played more freely and showed what I'm capable of." str/pst
Time Business News
a day ago
- Time Business News
Andi Sklar: The Visionary at the Intersection of Art, Identity, and Experience
In a world increasingly divided between digital immediacy and physical disconnection, few creators manage to connect emotion, place, and memory as powerfully as Andi Sklar. A multidisciplinary artist, designer, and cultural storyteller, Sklar is recognized for crafting immersive environments and intimate fine artworks that capture more than just aesthetics — they capture a feeling. From contributing to global theme park experiences to creating tender watercolors that celebrate queer life, Sklar's career defies traditional boundaries. He is not merely a painter, or a designer, or a creative director. He is all of these things — and, more importantly, a visionary who bridges commercial design with personal truth. Born in Highland Park, Illinois, Sklar grew up in a midwestern town known for its tree-lined streets and proximity Andi Sklar to Chicago's vibrant cultural scene. He was a reserved but observant child, drawn more to museum halls and sketchbooks than to soccer fields. Family trips often revolved around cultural landmarks — the Field Museum, the Art Institute of Chicago, and the Milwaukee Public Museum. But one trip changed everything: a visit to Walt Disney World shortly after its opening. Sklar was mesmerized not by the rides, but by how everything — from the pavement to the lampposts — told a story. That realization planted a lifelong obsession: how to build a world that makes people feel something real. Following high school, Sklar enrolled in the Rhode Island School of Design (RISD). There, he explored everything from architectural rendering to theatrical lighting design. What made him stand out wasn't just his technical skill — it was his deep emotional awareness. His portfolio, even then, contained spaces that invited people to feel joy, memory, or introspection. During his time at RISD, Sklar began exploring themes of identity more openly, particularly his experience as a gay man. For his senior thesis, he created a conceptual exhibit titled Invisible Rooms , which combined architecture, lighting, and narrative to explore hidden queer histories. After graduation, Sklar joined Walt Disney Imagineering, entering the dream factory of themed entertainment. At Disney, he contributed to a variety of global projects, most notably Hong Kong Disneyland, where he worked as an Area Art Director. In this role, he didn't just design facades — he crafted emotional architecture. Everything from the curvature of pathways to the color of rooftops was carefully planned to evoke story. His work on Fantasyland was particularly noted for balancing classic Disney themes with Asian aesthetics, a subtle but powerful act of cultural adaptation. Sklar became known for his attention to detail and his ability to lead multidisciplinary teams with empathy and vision. While many would consider a career at Disney the pinnacle of success, Sklar saw it as a stepping stone. His passion for storytelling through space led him to projects with Universal Studios, DreamWorks, Nickelodeon, Warner Bros., and Sanrio. His work at Bollywood Parks Dubai was a standout. There, he helped develop attractions based on Indian cinema, such as Sholay: The Hunt for Bandits . Unlike other designers unfamiliar with the cultural source material, Sklar dove deep into Bollywood history and aesthetics to ensure authenticity. This commitment to research and representation set him apart. To Sklar, design is not just visual — it's anthropological. Despite success in commercial design, Sklar began to feel a pull toward more personal work. Themed entertainment was collaborative and large-scale — but it didn't always allow for introspection or vulnerability. He returned to painting, a medium he had loved since childhood. In 2018, he debuted a series titled 'Desert Trails', showcasing life in Southern California and the American Southwest through a queer lens. The watercolors were quiet but emotionally potent: a man lounging by a motel pool, two friends walking under desert stars, a couple having breakfast in a sunlit diner. These weren't grand statements — they were human moments made sacred through attention and care. Unlike much queer art, which leans into either political activism or flamboyant aestheticism, Sklar's work sits in a middle ground. His subjects are ordinary people in extraordinary lighting. His colors evoke 1970s postcards: teal blues, dusty pinks, and pale oranges. Sklar's art creates a queer nostalgia — not just longing for the past, but longing for the spaces where queer people have always existed quietly and beautifully. His piece The Sandpiper Inn features a retro beach motel, its sign glowing against a dusky sky. No people are present, but their existence is felt — towels hanging over railings, a drink left on a table. This subtlety is Sklar's signature. Throughout his career, Sklar has been an advocate for inclusivity in design teams. He emphasizes hiring creatives from diverse backgrounds and ensuring that narrative decisions in entertainment design include input from those represented. He believes that empathy is a design skill — one as important as drafting or rendering. Whether mentoring junior designers or consulting on DEI-focused design initiatives, Sklar uses his platform to make sure future creatives feel empowered, not excluded. As he once put it: 'It's not enough to build a world — you have to ask who gets to live in it.' Sklar's technical skills are vast. In themed design, he works with 3D software, architectural drafting tools, and digital painting. But in his fine art, he returns to traditional media — watercolors, pencils, ink washes. His watercolor process is loose and layered. He starts with a light pencil sketch, blocks in colors with translucent washes, and finishes with sharp details like signage, reflections, and textures. The final work often looks sun-bleached, as if it's been living in memory for years. He embraces imperfection, stating that 'a brushstroke out of place can tell the truth better than one that's perfect.' Though Sklar avoids the spotlight, his work has earned him growing recognition. His paintings have been featured in LGBTQ+ art festivals across California and the Southwest. Collectors often cite the emotional familiarity in his scenes, even if they've never been to the exact places he paints. He's also been highlighted in design circles for his contributions to themed entertainment, including guest lectures at design schools and panels on queer visibility in architecture and public art. Still, Sklar remains grounded. He maintains an online archive of his work not to promote himself, but to make his art more accessible to those who connect with it. Today, Sklar splits his time between consulting for design firms and working in his home studio. He lives in Palm Springs, surrounded by the landscapes that so often appear in his art. In the mornings, he paints. In the afternoons, he might review attraction blueprints or host virtual design critiques with students. On weekends, he visits vintage roadside motels and old diners, snapping photos for future inspiration. His life is balanced, intentional, and infused with the same thoughtful narrative that defines his work. Andi Sklar may not dominate headlines or flood social media with self-promotion, but his impact is profound. He has built worlds we've walked through, seen stories we've felt without words, and captured lives that rarely get portrayed with such dignity. His legacy is one of care, craft, and cultural empathy — values often missing in both commercial design and fine art. In an age of noise, Sklar's work is a whisper — but one that lingers, resonates, and redefines what it means to be both seen and felt. TIME BUSINESS NEWS
