Triple Green Cinecapital (TGC) has launched a US$3 million film fund dedicated to commercial feature films in Southeast Asia, specifically Thailand, Vietnam, and Indonesia. The fund breaks from the region’s typical grant-based models by strictly avoiding art-house content. Instead, it targets commercial genre films (action, thriller, horror, rom-com) with a four-year deployment window (2025–2029). The capital structure is a hybrid model designed to de-risk projects early: 60% is allocated as Production Financing, 20% as Distribution Financing (Minimum Guarantees), with the remainder covering incentive management and brand integration.

The fund is a partnership between Singapore-based producer Leonard Lai (Founder, Little Green White) and Vietnam-based distributor/producer Hang Trinh (CEO, Skyline Media). Lai brings regional production experience, notably backing the commercially successful Ah Boys franchise. Trinh provides critical distribution infrastructure in Vietnam, a rapidly growing theatrical market. The deal connects Singaporean capital and packaging expertise with on-the-ground production and distribution networks in Vietnam and Indonesia.

The “sweet spot” for TGC is the underserved commercial mid-market—films with budgets between US$200k–$800k that fall into a financing dead zone. Existing government grants (like Purin Pictures) are capped at low amounts (~$30k) and prioritize cultural prestige over profit. Conversely, traditional bank loans in the region are asset-heavy and risk-averse, often requiring collateral that independent producers lack. TGC bypasses both by offering Production Financing based on script commerciality rather than cultural merit or real estate collateral. Uniquely, they combine this with Distribution Financing, solving the “orphan film” problem where independent movies get made but cannot afford the marketing spend (P&A) to enter theaters.

This deal introduces “Smart Capital” to the Southeast Asian supply chain. Unlike passive investors or “dumb money” that often floods the market during boom cycles, TGC uses its 15% “incentive management” allocation to actively manage government rebates. This professionalizes the supply chain by treating government soft money as a reliable asset class rather than a bonus. By locking in distribution backing at the financing stage, the fund effectively shortens the time-to-market for projects, allowing faster capital recycling compared to the slow-moving studio slate models used by competitors or local majors.

TGC is likely to function as a “commercial validator” for the region. If a project secures TGC financing, it signals to exhibitors that the film is commercially viable, not just artistically significant. We predict this model will pressure local film commissions to streamline their rebate processes, as private funds like TGC will gravitate only toward territories where “incentive management” is frictionless. Expect this fund to become a primary feeder for regional streaming platforms looking for pre-financed, theatrical-grade local content.