Macao’s emergence on the international stage as a location and co-production hub was discussed by executives from Asia, the UK and the US at a Screen International roundtable in Venice sponsored by the Galaxy Entertainment Group (GEG) Macao International Shorts Film Festival.

The roundtable, titled ’Thinking big: how co-productions and incentives are boosting the Macao film industry’, took place at a time of increasing film activity in Macao, the autonomous region on the south coast of China.

The Macao Special Administrative Region Government is actively involved in supporting the local industry and attracting international shoots. 

Edward Berger’s Ballad Of A Small Player, starring Colin Farrell, recently filmed in Macao, using its striking city landscape and casinos as its main location. Produced by Mike Goodridge’s Good Chaos in the UK and Berger’s Nine Hours in Germany with the UK’s Stigma Films, the Netflix-backed Ballad Of A Small Player world premiered this week at the Telluride Film Festival.

Another production to shoot recently in Macao is The Shadow’s Edge, starring Jackie Chan, which used several exterior locations in the city. The heist tale topped the global box office last weekend (August 29-31).

The Venice Film Festival,  meanwhile, has just celebrated Macao Day, highlighting emerging talent from the region with a selection of four short films by Macao-based filmmakers. This marked the first edition of the newly forged partnership with the Giornate degli Autori (GdA) section, supported by the Galaxy Entertainment Group Macao International Shorts Film Festival. The festival is co-organised by the Cultural Affairs Bureau of the Macao S.A.R. Government and the Galaxy Entertainment Group and runs from September 14-21.

Government support

The challenges and opportunities in Macao’s steps to attract international projects and talent were at the core of the roundtable hosted by Screen International. “Over the past decade, we have been dedicated to cultivating our film and TV industry, but beyond nurturing local creativity, we are also working to attract international projects, fostering collaboration with local production companies” said Patrick Ho, head of the department for promoting cultural and creative Industries at the Cultural Affairs Bureau of Macao S.A.R.’s government. 

Ho highlighted the funding programme launched by the Macao government to attract international productions. The Subsidy Programme for Cinematographic and Television Filming in Macao, operating since 2023, offers financial support of up to $240,000 (€210,000) per project to cover expenditure while filming in Macao. It is particularly well-suited for small or medium-sized productions, and international companies must partner with a Macao team to apply.

The goal is to enable the growth of the local industry and also serve as a gateway for international teams to access the Greater Bay Area (GBA) market in South China. “It’s a mutually beneficial model that has successfully attracted film and TV productions,” said Ho. 

Meanwhile, a website with information about locations, service companies, films shot in Macao, and details about the co-production funding scheme application is currently being set up to ease access to the required information.

Clarity in the process is key, according to international executives. “It’s a nascent programme, and I think it’s great,” said David Acosta, managing director and head of entertainment banking at the US’s East West Bank. He stressed the importance of transparency for enabling the scheme to grow and achieve its goals. “From a financing point of view, you want to know there is consistency, that the government has an open line of communication with the service companies, making sure the records are straight. You want people to have a good experience and come back and do it again,” advised Acosta.

Locations

Incentives aside, Macao’s appeal also lies in its locations. With its Portuguese colonial past, the city can provide a backdrop for exterior shoots for Asian companies in search of a European feel. For Western producers, it offers a rich blend of East and West cultural traditions, including the historic city centre, a UNESCO World Heritage Site. Macao is also a vibrant city well known for its glamorous casinos. 

Some potential partners deal with big budgets. “Even a modest movie in the US is about $4 to $5 million,” pointed out Tifanie J. Acosta, founder and managing partner at Entertainment Law Partners in the US and producer of Gus Van Sant’s Dead Man’s Wire, in Venice’s official selection. “From a production point of view, ideally, when we do our finance plan, we look to have our tax credits contribute about 40% to the budget. The maximum we can take in terms of one location, the better, because of the logistics involved in moving from one location to another. So, getting as close as you can to that percentage will make your programme very competitive,” she said to the Macao representatives.

Plan for success

Looking forward, one point to consider is how to deal with success. “When attracting shoots, it’s important to consider if there are enough crews to support them. Planning for growth and training professionals from the schooling stage is key,” said Acosta. Samantha Allwinton COO at London-based financier Head Gear agreed, adding: “If studios are attracted to the territory, there is a potential risk of pushing down the smaller international productions, and of ending up with a backlog and a non-bankable credit because you can’t get your money back. I’ve seen that happening with a couple of territories, so it’s certainly important to plan for success.”

Producer Shaunak Sur of India’s Raging Films, behind Venice Horizon’s title Mother, recommended film labs as an efficient way to nurture bonds with international talent and to attract co-productions. 

Vimukhtii Jayasundara of Sri Lanka’s Forest Flower Films, behind Venice Biennale College title Secret Of A Mountain Serpent, agreed: “To build up an ecosystem you need to celebrate cinema at every level and all year round.” He also praised the role of the Galaxy Entertainment Group GEG Macao International Shorts Film Festival in launching new talent.

Toronto International Film Festival programmer Jason Anderson has firsthand experience of this, being the chairperson of the international advisory board of Macao’s festival. “Having been involved in shorts and talent development for many years, it’s interesting to see Macao’s commitment to shorts and upcoming filmmakers, working with them when they are most open to collaborations. It fosters their confidence and helps them step into the international festival circuit.” 

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