Busan Market Chief Plots Year-Round ACFM 365 Amid Funding Stalls

The Asian Contents & Film Market, commonly known as ACFM, stands as a cornerstone event for the global film and entertainment industry in Busan. Recently, market director Ellen Y.D. Kim outlined an ambitious long-term vision to expand the event's reach far beyond its traditional four-day window. Speaking to industry reporters, Kim introduced the concept of ACFM 365, a proposed year-round platform designed to function as a permanent database and matchmaking service. This digital infrastructure would integrate market data from publications like The A Report with the ongoing project-matching efforts historically handled by the Asian Project Market and the Busan Story Market.

The strategic roadmap outlined by Kim spans several ambitious five-year targets. These include the regular publication of industry reports, the establishment of a standing leaders' forum based on The A Summit, and the evolution of the Cinema by Brand initiative into a standalone financing model. Furthermore, Kim envisions forming partnerships between the Asian Cinema Fund and international funds, while expanding geographic representation by drawing more delegates from Latin America, the Arab world, and Africa to push participating countries past sixty or even seventy.

Despite these growth prospects, funding remains a critical hurdle. Kim points out that while the scale and operational responsibilities of the market have expanded rapidly, public financial support has failed to keep pace. National funding allocations for ACFM have remained flat for consecutive years. According to Kim, government and institutional stakeholders must recognize that supporting the film sector is an economic investment rather than a simple subsidy, and that a major market must be maintained as essential industry infrastructure rather than treated as a fleeting promotional event.

Statistical indicators highlight the event's impressive organic expansion. Now in its 21st edition, ACFM has enjoyed steady surges in engagement. In the preceding year, industry registrations increased by more than fourteen percent, while overall attendance saw a matching double-digit rise. The current edition features hundreds of exhibiting companies and institutions hailing from dozens of countries and territories, representing a substantial year-over-year increase. Notable growth is particularly evident in technology exhibitors, national agencies, and specialized film commissions, alongside dedicated focus programs featuring key regional partners.

This continuous growth is largely attributed to careful curation and the introduction of targeted new strands. Programs such as ProducerHub, InnoAsia, Doc Square, and specialized microdrama sessions have successfully attracted first-time attendees. Newer additions like the Investor Summit and Cinema by Brand—which strategically pairs film productions with commercial brand partners—continue to diversify the market's offerings. Nonetheless, Kim emphasizes that the core identity of the market remains rooted in traditional cinema, with foundational pillars like the Sales Market, the Asian Project Market, and the Asian Cinema Fund remaining completely unchanged.

A central focus of Kim's leadership is empowering regional creators to retain control over their creative assets. She points out a critical discrepancy in the modern entertainment landscape: visibility and revenue do not always align. Much of the Asian content that achieves global success ultimately sees its intellectual property and primary financial returns absorbed by major international platforms and studios. By leveraging initiatives like the Busan Story Market and ProducerHub, regional producers are provided a collaborative environment to discuss creators' rights, direct trade, and better recoupment strategies.

The broader domestic market environment in South Korea presents a complex economic picture. Although first-half box office statistics showed marked improvements in ticket sales and overall revenue shares for local films, structural concerns persist. A notable drop in the total number of theatrical releases combined with negative average returns for commercial films in recent years indicates that the market is experiencing a temporary rebound rather than a true structural recovery. In response to the persistent paradox where producers struggle to secure financing while investors claim a shortage of viable projects, industry professionals are increasingly relying on international pre-sales and cross-border co-productions starting from the earliest stages of development.