Meeting Appointment System One-on-One Meeting System Launched for the First Time

This year, the International Film & TV Market will launch its digital One-on-One Meeting system for the first time. Instead of relying on chance encounters on site, participants will be able to log into the “Guest Center” in advance to browse profiles, identify potential partners, send meeting requests and confirm schedules. Who to meet, what to discuss and how to arrange meetings will become clearer, more targeted and more efficient.

The launch of One-on-One Meeting is designed to make meaningful encounters happen faster. The system will provide centralized access to guest information and support online appointment-making and intelligent matchmaking. Participants can learn in advance who their potential partners are, where they come from, what they are looking for and what kind of cooperation they are interested in, before sending meeting requests based on their own needs.

By reducing communication barriers across languages, time zones and markets, One-on-One Meeting will make the first step toward cooperation smoother and more accessible. In the past, the international market functioned like a bustling meeting hall. Now, it is becoming a global industry network that can be actively searched, precisely connected and efficiently activated, allowing deals and collaborations to take place in a more organized, seamless and effective way.

Buyer Company Profiles

·Globo — Brazil

As one of the most influential media groups in Latin America, Globo’s participation reflects the growing potential for Chinese film and television content in large emerging markets. Its video-on-demand platform Globoplay has built a multi-genre content ecosystem and is actively expanding into the emerging field of micro-short dramas. The company plans to launch no fewer than 20 original micro-short drama series by the end of 2026, while continuing to acquire international content.

This creates significant room for cooperation in the export of Chinese micro-short dramas, as well as in cross-media and cross-regional co-development of original content. With more than half a century of experience in international content distribution, Globo also brings strong localization capabilities, offering reliable support for Chinese content to enter and adapt to the Latin American market.

·RTVE — Spain

As Spain’s largest public audiovisual media group, RTVE is known for producing high-quality film and television content, with a diverse catalogue covering drama series, documentaries, entertainment programs and other formats. Many of its productions have received recognition at major international awards.

In recent years, the Spanish audiovisual industry has gained increasing influence in both the European and global markets, while Spanish-language content has continued to expand its reach across international streaming platforms. RTVE’s participation in the Shanghai International Film & TV Market demonstrates its growing interest in collaboration with Asian content industries, and opens up new opportunities for dialogue between China and Spain in drama development, documentary cooperation and cultural content exchange.

·Rakuten TV — France

Rakuten TV is a major streaming platform covering 43 countries and regions across Europe. Its collaboration with Chinese content has already entered a practical stage of platform co-building. In February this year, under the framework of the National Radio and Television Administration’s “China Time” project, the “French Magnolia FAST Channel” was officially launched on Rakuten TV.

The channel adopts an innovative business model combining content licensing, technical hosting, advertising revenue sharing and local operations. By broadcasting Chinese drama series with high-quality French dubbing, the channel received more than 92,000 views in its first week and successfully attracted advertising placements from international brands.

This case demonstrates that, through dedicated channels with localized operations, Chinese drama series can be integrated into Europe’s mainstream commercial streaming ecosystem and develop a sustainable business model.

·Mediacorp — Singapore

As Singapore’s national media network and largest content creator, Mediacorp reaches 99% of the country’s population each week through television, radio, digital platforms and social media. Its streaming platform, mewatch, continues to expand a multilingual and multi-genre content ecosystem.

As streaming competition enters a stage of more refined audience operations, Mediacorp’s experience in audience engagement, platform collaboration and regional content partnerships offers practical reference points for Chinese film and television content going global. For the Chinese audiovisual industry, Singapore is not only an important gateway to Southeast Asia, but also a strategic bridge connecting Asian cultural contexts with international communication networks.

·FPT Play — Vietnam

FPT Play is one of Vietnam’s leading digital entertainment platforms, developed and operated by FPT Telecom. Its services cover live channels, films, drama series, children’s programming, sports events and other diversified content, forming a comprehensive digital entertainment ecosystem with millions of users.

In recent years, Vietnam’s online entertainment market has grown rapidly, with young audiences showing strong interest in Asian film and television content. With the spread of mobile internet and the formation of streaming subscription habits, Vietnam has gradually become one of Southeast Asia’s most promising emerging digital content markets.

In this context, the technology-driven platform cooperation model represented by FPT Play offers new possibilities for the regional operation and long-term user cultivation of Chinese film and television content. Future cooperation may extend beyond content acquisition to include platform operations, content marketing and user growth.

·RTV — Indonesia

RTV is a national free-to-air digital terrestrial television channel in Indonesia. Since its launch in 2014, it has focused primarily on family entertainment and children’s content, operating on a 24-hour broadcasting schedule.

RTV has expressed clear acquisition interest in action and martial arts drama series, as well as family-oriented and children-oriented IP and animation content. This demand closely aligns with the traditional strengths and new creative capacity of Chinese film and television in martial arts, action genres and animated IP development.

It is also worth noting that RTV remains open to future project development and joint incubation. This suggests that cooperation may move beyond traditional finished-content acquisition and extend upstream into project planning and development, allowing both sides to explore original content models better suited to the aesthetics and viewing habits of Southeast Asian markets.

·Unico Play — Kazakhstan

Unico Play is Kazakhstan’s first national streaming platform, operated by Uni-Q Group. It integrates original content production, distribution and international content aggregation. The platform is currently focusing on drama series, films and documentaries, while actively expanding international co-production and regional distribution partnerships.

Unico Play places particular emphasis on content that reflects the lived realities of Central Asia, aiming to present the cultural atmosphere and youth issues emerging from the region’s social transformation. This positioning creates strong potential alignment with Chinese content in realistic subjects, coming-of-age narratives and sports inspirational genres.

As an emerging regional streaming platform, Unico Play also expands the imaginative possibilities for Chinese film and television content entering the Central Asian market. From the Silk Road to the age of digital streaming, new routes of cultural circulation are being rebuilt.

·GSC — Malaysia

GSC Movies Sdn. Bhd., a wholly owned subsidiary of Malaysia’s largest cinema operator GSC, is one of the country’s largest independent film distributors, as well as a well-known investor and co-producer. Its catalogue is highly diverse, covering Chinese-language films, English-language independent films, Asian cinema and more.

With long-standing experience in theatrical distribution, GSC has demonstrated stable commercial conversion in the market for Chinese-language genre films in recent years. It has distributed many Chinese-language titles, including Pegasus 3, High Forces, Article 20, The Shadow’s Edge and Creation of the Gods II: Demon Force.

This year, the martial arts action film Blades of the Guardians was released by GSC in Malaysia and became the box-office champion during the Chinese New Year period, demonstrating the audience appeal and theatrical potential of Chinese genre content in regional markets.

·PT Inter Solusindo Film — Indonesia

PT Inter Solusindo Film is a local film distribution company based in Jakarta, Indonesia, focusing on the distribution and promotion of Asian and international commercial films in the Indonesian market.

The company has long distributed genre films from mainland China, Hong Kong, Taiwan, Japan, South Korea and Thailand, with particular strength in the local release of action, crime, thriller and other mainstream entertainment titles. Its Chinese-language film distribution experience includes Fox Hunt and Operation Hadal, making it an important local partner for Chinese commercial films entering the Indonesian theatrical market.

·Purple Plan — Singapore

Purple Plan is a regional film distribution company headquartered in Singapore, specializing in international acquisition and regional distribution of quality film content. Its distribution network covers Southeast Asia, Australia, New Zealand, North America, the United Kingdom and other markets.

In recent years, Purple Plan has continued to participate in the overseas distribution of Chinese-language films. Its partner titles include No More Bets, Lost in the Stars, Someday or One Day, I Miss You, A Writer’s Odyssey 2 and Endless Journey, covering genres such as suspense, romance and socially engaged drama. Its continued investment in Chinese-language content reflects the growing circulation potential and regional influence of Chinese cinema in the international market.

·Niu Vision Media — Canada

Niu Vision Media is an integrated film distribution company headquartered in Toronto, Canada. Its business covers film distribution, publicity and promotion, as well as event planning and execution. The company is committed to bringing outstanding Chinese-language films to theatres across multiple countries and regions.

In recent years, Niu Vision Media has continued to promote Chinese-language films in international markets and has repeatedly set new box-office and attendance records for Chinese-language cinema overseas. Its distributed titles include No More Bets, A Place Called Silence, Pegasus 2, Endless Journey, Crisis Negotiators and Land of Broken Hearts, among other commercially successful Chinese-language films.

As a key distributor for this year’s market expansion into North America, Australia and New Zealand, Niu Vision Media further enriches the overseas circulation pathways for Chinese-language content.

·Cercamon — United Arab Emirates

In the Middle Eastern market, the participation of UAE-based sales and distribution company Cercamon marks a further expansion of the Shanghai film and television festivals into emerging markets.

Cercamon is a global sales company founded by veteran international sales executive Sébastien Chesneau, dedicated to discovering and promoting high-quality films worldwide. It has previously handled the Chinese film Light Pillar. The company has long been engaged in international film co-production and sales, and its participation is expected to broaden the channels through which Chinese film and television content can reach the Middle East.

·ADSO Films — Spain

ADSO Films is a well-known Spanish audiovisual production and distribution company specializing in independent film distribution. The company stands out for its carefully curated selections from global markets and its consistent commitment to originality and high-quality content.

ADSO Films actively follows Chinese works with strong artistic and social narratives. Its Chinese-related distribution titles include Ne Zha 2, Tom and Jerry: Forbidden Compass, Creation of the Gods I: Kingdom of Storms and Creation of the Gods II: Demon Force. The company has shown strong interest in commercial blockbusters and well-received titles, particularly high-quality Chinese animation.

·NEO Films — Greece

NEO Films is a boutique film distribution company based in Athens, Greece, focusing on theatrical distribution in Greece and Cyprus. Its catalogue covers European arthouse films, international independent cinema, animation and selected commercial genre films.

The company pays close attention to films with auteur expression, international market recognition and arthouse theatrical potential. It has participated in the release of Chinese films such as Black Dog and Ne Zha 2 in the Greek market, making it an important local distribution partner for Chinese cinema entering Greece and Southeastern Europe.

·Trinity CineAsia — United Kingdom

Trinity CineAsia is a leading Asian film distributor based in London, dedicated to bringing outstanding Asian cinema to audiences in the United Kingdom and beyond.

In the UK, more than half of the top ten highest-grossing Chinese domestic films have been distributed by Trinity CineAsia. Its Chinese film releases include mainland historical and war epics such as The Eight Hundred, Wolf Warrior 2 and The Battle at Lake Changjin, as well as acclaimed Hong Kong films such as The Last Dance, Time Still Turns the Pages and Twilight of the Warriors: Walled In.

Its release of the Chinese science-fiction blockbuster The Wandering Earth II became the highest-grossing non-studio Chinese film in the UK in 15 years.

·Heylight Pictures — France

Heylight Pictures is a French film distribution and marketing company connecting the European and Chinese film markets. In recent years, the company has actively promoted Chinese-language films in France and across Europe.

Heylight has participated in the French release and promotion of multiple Chinese films, including The Wandering Earth 2, Creation of the Gods I: Kingdom of Storms, Creation of the Gods II: Demon Force, Dead to Rights and The Shadow’s Edge. Among them, Creation of the Gods I held special screenings in more than 140 cinemas across France during the Chinese New Year period, successfully reaching a large number of local French audiences.

With its dual understanding of French cinemas, Chinese-speaking communities and local non-English-language film audiences, Heylight has developed representative experience in the localized European distribution of Chinese commercial films and animated films.