In an inspiring showcase of commitment to regional filmmakers, Netflix hosted its inaugural Creative Asia Forum in partnership with the Busan International Film Festival (BIFF), drawing an audience of 120 filmmakers from across the Asia-Pacific region. Minyoung Kim, Netflix’s VP of APAC Content (excluding India), took center stage to share exciting developments from the Netflix Fund for Creative Equity, which was established in 2021 with a pledge of $100 million over five years to foster opportunities for underrepresented communities in entertainment.
To date, Kim revealed that Netflix has invested approximately $41 million into 200 programs, benefiting over 13,000 participants across more than 50 countries. This initiative has already seen over 450 individuals secure roles on Netflix productions, ranging from line producers to casting assistants.
The forum highlighted collaborations with local film festivals, such as this year’s Jogja-NETPAC Asian Film Festival, and partnerships with content agencies like Taiwan’s TAICCA, which recently conducted a six-week screenwriting workshop for local writers. Netflix is actively working with production studios to pinpoint skill gaps in local industries, organizing targeted workshops to address these needs. In Korea, for instance, the team has identified a growing demand for expertise in VFX and virtual production, launching the “Grow Creative in Korea” program that has trained over 2,400 students.
In a bold move, Netflix also unveiled its 2025 Korean film slate, featuring projects like Revelations by Train to Busan director Yeon Sang-ho, alongside the sci-fi disaster film The Great Flood, starring Kim Da-mi and Park Hae-soo.
The forum offered a platform for creative voices like Yen Yi-wen, writer-director of Born For the Spotlight, who shared her journey from actress to storyteller. “After winning an award in 2015, I realized I wanted to break free from playing mediocre characters,” Yen reflected. Her upcoming series, premiering on November 7, explores the life of an actress grappling with her fading talents.
Olive Ting, the producer of Born For the Spotlight, highlighted a cultural shift in Taiwanese storytelling. “Twenty years ago, our narratives were predominantly romantic and formulaic. Now, audiences crave diverse and ambitious stories that reflect social changes,” she noted.
On the Japanese panel, director Hiroshi Kurosaki discussed his film Beyond Goodbye, a poignant love story that intertwines themes of memory and loss. “We aimed for a fantastical yet believable narrative, keeping our approach grounded in reality,” he explained.
Meanwhile, Indonesian directors Kamila Andini and Ifa Isfansyah shared insights into their series Cigarette Girl, which traces the evolution of a family business in Indonesia’s clove cigarette industry across two decades. “Our story emphasizes female strength in a historical context where opportunities for women were limited,” Andini emphasized.
With such dynamic discussions and a significant financial commitment to the future of Asian cinema, Netflix’s Creative Asia Forum is set to redefine the landscape for regional filmmakers, encouraging innovative storytelling and cultural exchange.
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