Culture 4 min read By Morgan Griffin
ACFM Chief Ellen YD Kim Outlines AI Push as Busan Market Expands
The Asian Contents & Film Market is entering its second year with new technology-focused programs, as its chief highlights AI, Korean cinema's recovery, and market spotlights on Thailand and Japan.
The Asian Contents & Film Market (ACFM), the industry platform of the Busan International Film Festival, is moving into the second edition of three new programs launched last year, with early results beginning to show. Among them, InnoAsia hosts panels, workshops and events centered on advanced technologies and innovative business strategies, including artificial intelligence.
ACFM chief Ellen YD Kim discussed the market's direction, touching on AI development, the recovery of Korean cinema, and this year's market spotlights on Thailand and Japan. The three new programs introduced in the previous edition are now entering their second cycle, a sign that the market is testing new formats and evaluating their impact on the industry.
InnoAsia stands out as the strand most directly engaged with technology, bringing together discussions on AI and other emerging tools that are reshaping how films are made, marketed and distributed. The program reflects a broader shift in the film industry, where markets and festivals are increasingly asked to address the intersection of content and technology.
The focus on AI comes as the global entertainment business grapples with questions about automation, creative labor and new production workflows. For a market like ACFM, which connects producers, financiers and technology companies across Asia, the topic has become a central draw for attendees looking to understand where the industry is heading.
Kim also addressed the state of Korean cinema, describing a recovery phase after a period of uncertainty. The Korean film industry has been closely watched in recent years as it navigates changes in theatrical attendance, streaming competition and production economics. ACFM's role as a hub for the region means its programming often mirrors the health and priorities of the sectors it serves.
Thailand and Japan are the market's spotlights this year, giving both countries a dedicated platform to showcase projects, talent and business opportunities. Country spotlights are a common feature of film markets, designed to raise the international profile of a national industry and connect its producers with overseas partners.
For Thailand, the spotlight offers a chance to build on a growing reputation for genre filmmaking and production services. Japan, meanwhile, brings a deep catalog of established studios, animation powerhouses and auteur directors, making it a perennial focus for international buyers and collaborators.
The Asian Contents & Film Market runs alongside the Busan International Film Festival, one of Asia's largest and most influential film events. The market serves as a meeting point for sales agents, distributors, festival programmers and financiers, and its programming choices can signal which regions and technologies the industry expects to matter in the coming year.
By expanding InnoAsia and maintaining its country spotlights, ACFM is positioning itself as more than a traditional sales floor. The market is betting that conversations about AI, regional production capacity and recovery trends will draw the same attention as finished films and project pitches.
With the second edition of its new programs underway, the market's organizers will be watching closely to see whether the formats deliver on their promise. For now, the combination of technology, Korean cinema's rebound and the Thailand and Japan spotlights gives this year's ACFM a clear set of priorities.
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