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Asia Pacific Screen Awards nominees announced
MUMBAI: October 4, 2007: Nominees in the inaugural Asia Pacific Screen Awards, the region‘s highest accolade in film in 2007, were announced at a gala event in Singapore.
Feature films in contention for Best Feature Film are CARAMEL (Lebanon), NIGHT BUS (AUTOBUS-E SHAB) (Iran), OPERA JAWA (Indonesia), SECRET SUNSHINE (MIRYANG) (Republic of Korea) and TAKVA: A MAN‘S FEAR OF GOD (Turkey).
 Feroz Abbas Khan‘s GANDHI, MY FATHER nominated for Asia Pacific Screen Awards |
The Asia Pacific Screen Awards is a collaboration between CNN International, UNESCO and FIAPF- the International Federation of Film Producers Associations. The Awards honour the works of filmmakers across a region covering more than 70 countries, one third of the earth and half the world‘s film output.
The finalists are drawn from all over the Asia-Pacific region with 34 films nominated from 19 countries: Armenia, Australia, China, Egypt, India, Indonesia, Iran, Iraq, Israel, Japan, Kazakhstan, Kurdistan, Lebanon, Malaysia, Philippines, Republic of Korea, Russian Federation, Sri Lanka and Turkey.
Asia Pacific Screen Awards Chairman, Des Power, said: “It is remarkable that the Awards in their first year have drawn entries from so many countries in the Asia-Pacific region. Clearly filmmakers and the industry value the purpose and benefit of these Awards and the global broadcast platform of CNN International.
“I congratulate the nominees in the inaugural Asia Pacific Screen Awards. They represent the extraordinary creativity and energy of filmmakers across the Asia-Pacific region and the range and quality of their films undoubtedly reflects the aims of the Asia Pacific Screen Awards to celebrate both cinematic excellence and cultural diversity.”
The Asia Pacific Screen Awards will be presented at an Awards ceremony on the Gold Coast, Australia, on November 13, 2007, following deliberation by a distinguished International Jury headed by Indian actress and humanitarian, Shabana Azmi.
The full list of nominees follows.
The nominees in the 2007 Asia Pacific Screen Awards are:
Best Feature Film
CARAMEL (Lebanon) Produced by Anne Dominique Toussaint
NIGHT BUS (AUTOBUS-E SHAB) (Iran) Produced by Mehdi Homayounfar
OPERA JAWA (Indonesia) Produced by Garin Nugroho and Simon Field
SECRET SUNSHINE (MIRYANG) (Republic of Korea) Produced by In-Soo Kim, Chang-Dong Lee and Hanna Lee
TAKVA: A MAN‘S FEAR OF GOD (Turkey) Produced by Sevil Demirci Cakar
Best Animated Feature Film
THE BIG FIGHTING BETWEEN WUKONG AND GOD ERLANG (WUKONG DA ZHAN ER LANG SHEN) (China) Produced by Hansen Liang and Meiling Zhou
5 CENTIMETERS PER SECOND (BYOSOKU 5 CENTIMETERS) (Japan) Produced by Horitaka Kawaguchi
SUMMER DAYS WITH COO (KAPPA NO COO TO NATSUYASUMI) (Japan) Produced by Yutaka Sugiyama
Best Documentary Feature Film
BEIRUT DIARIES: TRUTH, LIES AND VIDEOS (YAOUMIYAT BEIRUT: HAKAEK WA AKATHEEB) (Lebanon) Produced by Mai Masri and Jean Chamoun
A GREAT MASTER RECAPTURED (YOU JIAN MEI LAN FANG) (China) Produced by Feng Gao
THE LOST LAND (SARZAMINE GOMSHODEH) (Iran) Produced by Documentary and Experimental Film Centre and TOUBA Film
A STORY OF PEOPLE IN WAR AND PEACE (Armenia) Produced by Vardan Hovhannisyan
VILLAGE PEOPLE RADIO SHOW (APA KHABAR ORANG KAMPUNG) (Malaysia) Produced by Tan Chui Mui
Best Children‘s Feature Film
THE BICYCLE (GULONG) (Philippines) Produced by Menardo Jimenez and Socorro Fernandez
DENIAS, SINGING ON THE CLOUD (DENIAS, SENANDUNG DI ATAS AWAN) (Indonesia) Produced by Ari Sihasale
LOCKSMITH (GHOFL-SAZ) (Iran) Produced by Hassan Agha-Karimi
MOTHER NANNY (INANG YAYA) (Philippines) Produced by Antonio Gloria
MUKHSIN (Malaysia) Produced by Puad Onah
Achievement in Directing
Nadine Labaki for CARAMEL (Lebanon)
Rakhshan Bani-Etemad and Mohsen Abdolvahab for MAINLINE (KHOONBAZI) (Iran)
Shawkat Amin Korki for CROSSING THE DUST (PARINAWA LA GHOBAR) (Iraq/Kurdistan)
Tao Peng for LITTLE MOTH (XUE CHAN) (China)
Zhanna Issabayeva for KAROY (Kazakhstan)
Best Screenplay
Feroz Abbas Khan for GANDHI, MY FATHER (India)
Michael James Rowland and Helen Barnes for LUCKY MILES (Australia)
Kiumars Pourahmad and Habib Ahmadzadeh for NIGHT BUS (AUTOBUS-E SHAB) (Iran)
Chang-Dong Lee for SECRET SUNSHINE (MIRYANG) (Republic of Korea)
Onder Cakar for TAKVA: A MAN‘S FEAR OF GOD (Turkey)
Achievement in Cinematography
Yu Wang for THE GO MASTER (WU QINGYUAN) (China)
Trofimov R G C Sergey for MONGOL (Russian Federation)
Palitha Perera for SANKARA (Sri Lanka)
Zhao Fei, Mark Ping-bin Lee and Yang Tao for THE SUN ALSO RISES (China)
Hooman Behmanesh for THOSE THREE (AN SEH) (Iran)
Best Performance by an Actress
Nadine Labaki, Yasmine Al Masri, Joanna Moukarzel, Gisele Aouad, Siham Haddad & Asiza Semaan in CARAMEL (Lebanon)
Hanan Turk in CUT AND PASTE (KAS WA LAZK) (Egypt)
Joan Chen in THE HOME SONG STORIES (Australia)
Baran Kosari in MAINLINE (KHOONBAZI) (Iran)
Do-Yeon Jeon in SECRET SUNSHINE (MIRYANG) (Republic of Korea)
Best Performance by an Actor
Sasson Gabai in THE BAND‘S VISIT (BIKUR HATIZMORET) (Israel)
Antropov Evgeniy in HARD-HEARTED (KREMEN) (Russian Federation)
Deok-Hwan Ryu in LIKE A VIRGIN (CHEON HA JANG SA MADONNA) (Republic of Korea)
Mehrdad Sedighian in NIGHT BUS (AUTOBUS-E SHAB) (Iran)
Erkan Can in TAKVA: A MAN‘S FEAR OF GOD (Turkey)
Two additional major Awards will be presented for outstanding achievement: The FIAPF Award for outstanding achievement in film in the Asia-Pacific region.
The UNESCO Award for outstanding contribution to the promotion and preservation of cultural diversity through film.
The Asia Pacific Screen Awards is producing television programs attached to the inaugural 2007 Awards for global broadcast on CNN International.
The programs, titled Scene By Scene, will carry stories and interviews about the region‘s film industry. Scene By Scene – Films of Asia Pacific will screen on CNN International on November 10 prior to the Awards ceremony on November 13. The second program, Scene By Scene – Best Films of Asia Pacific, will include the Awards ceremony and will air on November 17.
FIAPF – The International Federation of Film Producers Associations has endorsed the Asia Pacific Screen Awards Charter.
The Director General of UNESCO has given his formal endorsement for the Asia Pacific Screen Awards to be conducted under the auspices of UNESCO.
KEY DATES:
31 August 2006
Eligible films must be completed after this date
12 September 2007
Deadline for entries. Screen Credits Forms and accompanying films must be lodged and postmarked on or before this date by Submitting Organisations in each country
24 – 28 September 2007
Nominations Council meet to decide nominations in the first nine categories. Announcements will be made early October.
31 October 2007
Eligible films must have achieved theatrical release or presentation at a FIAPF accredited festival anywhere in the world by this date
13 November 2007
Winners announced at the inaugural Asia Pacific Screen Awards ceremony.
Hindi
GUEST COLUMN: Why film libraries & IPs are the new engines of growth
Unlocking value through catalogue strength and IP synergy
MUMBAI:In a media landscape defined by fragmentation, platform proliferation, and ever-evolving audience behavior, the economics of filmmaking are undergoing a fundamental shift. No longer confined to box office performance, a film’s true value is now measured across an extended lifecycle that spans digital platforms, syndication networks, and global markets. As content consumption becomes increasingly non-linear and algorithm-driven, film libraries and intellectual properties (IPs) are emerging as strategic assets, capable of delivering sustained, long-term returns. For Mohan Gopinath, head – bollywood business at Shemaroo Entertainment Ltd., this transformation signals a decisive move from hit-driven models to portfolio-led value creation. In this piece, Gopinath explores how legacy content, when intelligently repurposed and distributed, can unlock recurring revenue streams, why the interplay between catalogue and original IP is critical, and how media companies can build resilient, future-ready entertainment businesses.
For all these years, we thought that a film is successful if it performs well in theatres. There are opening weekend numbers, box office milestones, and distribution footprints that gave a good picture of how the movie has done commercially and also tell us about its cultural impact. However, there are multiple platforms today, always-on content ecosystem, which has caused a shift. Today, the theatrical performance is not the culmination of a film’s journey but merely the beginning of a much longer and more dynamic lifecycle.
Film libraries today are emerging as high-value, constantly evolving assets that deliver sustained returns well beyond initial release cycles. This becomes a point of great advantage for legacy content owners with diverse catalogues, to shape long-term business outcomes.
According to FICCI-EY, the media and entertainment industry of India achieved a valuation of Rs 2.78 trillion in 2025 which is expected to reach Rs 3.3 trillion by 2028 through a compound annual growth rate of approximately 7 per cent and digital media will bring in more than Rs 1 trillion to become the biggest sector which generates about 36 per cent of overall market revenues.
This shift is the expansion of distribution endpoints. We know how satellite television was once the primary secondary window but today, it coexists with YouTube, OTT platforms, Connected TV, and FAST channels. Each of these platforms caters to distinct audience demographics and consumption behaviors, helping content owners to obtain more value from the same asset across multiple formats.
For instance, films that had great reruns, now find continuous engagement across digital platforms. On YouTube, classic Hindi cinema continues to attract significant viewership, reaching audiences across generations and geographies with remarkable consistency. At Shemaroo Entertainment, this is reflected in our film library shaped over decades as part of a long association with Indian entertainment. From classics such as Amar Akbar Anthony to much-loved entertainers like Jab We Met, Welcome, Dhamaal, Phir Hera Pheri, Dhol, Golmaal, and Bhagam Bhag, many of these titles continue finding new audiences while retaining their place in popular memory. Their enduring appeal reflects how culturally resonant stories can continue creating value over time. Similarly, FAST channels have created curated, always-on environments where catalogue content can continue to thrive through star-led and genre-based programming.
This multi-platform approach has very well transformed films into long-tail IP assets which are capable of generating recurring revenue across advertising, subscription, and syndication models.
The evolution of audience behavior is equally important. Nowadays, it’s more important to find what’s more relative than what’s recent as viewers are more influenced by mood, memories, and algorithmic suggestions than by release schedules. Even if a movie was released decades ago, it can trend alongside a newly released movie, if surfaced in the right context. Thoughtful packaging, whether through festival-based playlists, actor-driven collections, or genre clusters, allows catalogue content to remain dynamic and continuously discoverable. Shemaroo Entertainment has built extensive film libraries over decades and its focus has mostly been on recontextualizing content for the consumption of newer environments. This process doesn’t just include digitization and restoration, but also re-packaging of films as per platforms.
Syndication itself has evolved into a key growth driver. In perspective, when looking at the domestic market, curated content packages continue to find strong demand across broadcast and digital platforms. Meanwhile, in the international market, especially in markets like Middle East, North America and Southeast Asia, the appetite for Indian content is opening up new monetization avenues. Here, the ability to package and position catalogue content effectively becomes as important as the content itself.
Importantly, the need to re-package catalogue content does not diminish the role of new content. In fact, originals and fresh IP are essential to sustaining the long-term value of a film library because they act as discovery engines that bring audiences into the ecosystem, while catalogue content drives depth, retention, and repeat engagement.
This interplay between the “new” and the “known” is what defines a robust content strategy today. While new films generate spikes in consumption, catalogue titles offer familiarity and comfort. These are factors that are increasingly valuable in an era of content abundance and decision fatigue. This is also shaping our strategy, drawing value from both a deep catalogue assets and a growing focus on original IPs to strengthen long-term audience engagement and build more predictable revenue streams.
There is growing recognition that long-term value in entertainment will be shaped not only by how intelligently existing content continues to live, travel and find relevance, but also by how consistently new stories are created to renew that ecosystem. In that sense, film libraries and original IP are not parallel bets, but reinforcing engines of growth. For media companies, the opportunity lies in making these two forces work together, because that is increasingly where more resilient and predictable businesses are being shaped.
Note: The views expressed in this article are solely the author’s and do not necessarily reflect our own.
