Official film co-production treaties are designed by policymakers to stimulate a range of collaboration and media flows as determinants of country rankings. China, where , technology transfer, and joint funding initiatives in the industry. Since July 2004, the Chinese government has used this top-down approach to cultural diplomacy as a symbolic tool for advancing Chinese cinema and opening the domestic market to a host of willing international partners. Korean filmmakers in particular have exploited the (often informal) opportunities presented, engaging in vigorous cooperation between film industry firms and practitioners is making significant inroads, is one such case, having fallen outside of the Western-dominated global ‘Soft Power 30’ index.with Chinese colleagues across all sectors of the production ecosystem. The continuing flow of Chinese–Korean transnational film encounters, underpinned by influential personal networks, resulted in the signing of a formal China-Korea co-production agreement in July 2014. To redress this limited viewpointexamine the efficacy of this policy intervention, this article analyzes a rangethe diversity of film collaborationscollaboration that preceded the 2014 South Korea–China co-productionthis agreement and theirits impact on transnational filmmaking in China. It investigates the strategies used in the remaking of Korean auteur Lee Man Hee’s 1966 melodrama Late Autumn (2010), technical innovation in Dexter Digital’sthe VFX-heavy Mr. Go (2013), and the making of Korean mega-distributor CJ E&M’s romance drama A Wedding Invitation (2013). These recent examples of transnational co-operation prior) to the signing of this landmark policy instrument illustrate how Korean firms and practitioners are continuing to expand theexpanding the commercial entertainment boundaries of Chinese cinema, and. In so doing, it also reveals how Chinese film companies are enabling the Korean film industry to increasingly internationalize its approach to overseas markets beyond the kind of conspicuous bilateral policy initiatives. This study is intended to add a nuanced layer of complexity to the ‘soft power aspirations’ of both China and Korea and their links to the film industry in tailored for a globalized cultural economy.