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Rain couldn’t dampen the spirit: Highlights from the Tokyo International Film Festival
Soaked by several days of rain due to a nearby typhoon, the Tokyo International Film Festival (TIFF) and its accompanying TIFFCOM industry event might have seemed destined to be a damp affair. However, the festivalgoers’ spirits were rarely dampened. As the rain relented at the midpoint, a collection of positive themes surfaced, brightening the event.
The resurgence of Chinese cinema
The Tokyo festival has become an unexpected launchpad for Chinese films to make their international festival comebacks. Despite tense political relations between China and Japan, the festival featured three mainland Chinese indie films in its main competition for the second year in a row. Films like “Papa,” a divisive Hong Kong drama initially offered to Cannes and Venice but turned down, and a Taiwan-Japan co-production highlight the significant influence of Chinese cinema at this year’s event.
Tokyo’s artistic director, Ichiyama Shozo, is deeply familiar with the Chinese indie scene. This connection has resulted in a collaborative relationship with Chinese authorities, allowing the festival to showcase indie films that have the ‘Dragon Seal’ stamp of official approval. This nuanced selection process has given Tokyo an edge over other international festivals like Venice, Toronto, and San Sebastian, which may have missed out on notable Chinese works due to China’s complex censorship system.
While other Asian festivals such as Busan offer limited space to Chinese titles due to broader geopolitical issues, Tokyo has positioned itself as a reliable stage for Chinese indie films and filmmakers to shine.
Political shifts and film industry growth
The Japanese political landscape has recently been marked by voter disillusionment and shifting party alliances, making it difficult to gauge the current political climate. An inconclusive general election took place just before the festival began, yet there appears to be cross-party support for developing the film industry.
This support was highlighted during the festival’s opening ceremony, where the new Prime Minister made a video pledge to the industry. There’s a growing recognition of the economic potential, employment opportunities, and global influence of a dynamic and less conservative film and TV sector.
This realization is translating into actionable government measures, such as fostering cross-border collaborations (e.g., the Japan-Italy coproduction treaty effective since August) and implementing new talent-support initiatives. These efforts are complemented by significant improvements to Japan’s location incentive scheme, aiming to attract more international production.
Despite these positive strides, the anime industry still seeks more governmental support to address structural challenges like high labor costs and limited export assistance. However, the increasing global appetite for Japanese-themed content, such as “Shogun” and “Tokyo Vice,” suggests a promising future for Japanese political backing of the entertainment industry.
Spotlight on emerging talent
One of the festival’s highlights was the Nippon Cinema Now strand, which focused on young talent either from Japan or with strong connections to the country. Artistic director Ichiyama Shozo brought attention to several emerging filmmakers at an event alongside Christian Jeune, director of the film department at Cannes Film Festival.
Among the standout talents were Tokyo-born Kim Yunsoo, whose debut feature “Or Utopia” premiered in the strand, and Yang Liping, whose film “Ashes” was also showcased. The U.K.’s Oscar and BAFTA-nominated Mark Gill premiered his Japan-set film “Ravens,” and Takino Hirohito presented “The Bear Wait.”
Christian Jeune noted a positive shift in recent years, pointing to emerging voices like Hayakawa Chie and her film “Plan 75,” which premiered at Cannes’ Un Certain Regard in 2022. Jeune emphasized the importance of institutional support for Japanese films, advocating for greater governmental backing to nurture homegrown talent.
Japan’s growing appeal as a film location
Japan’s new location incentive scheme, offering reimbursement of up to 50% of qualifying expenses with a cap of JPY1 billion per disbursement, has generated significant buzz. The TIFFCOM market was filled with promotional materials showcasing the beauty and potential of various Japanese prefectures for film production.
Alex Boden, who spent nearly two years in Japan producing “Tokyo Vice,” hailed the incentive program as a game-changer. Boden reported frequent inquiries about the scheme, indicating strong international interest. Current JLOX-backed productions include projects featuring high-profile actors like Dwayne Johnson, Emily Blunt, and Brendan Fraser, as well as a Bollywood film. Even James Cameron is developing “The Last Train from Hiroshima.”
The program’s growing momentum suggests that Japan could become a premier destination for productions of all scales.
The rise of artificial intelligence in filmmaking
Artificial Intelligence (AI) was a hot topic at the festival, reflecting a broader trend across recent Asian film festivals. Filmmaker Nakajima Ryo discussed the varying international reactions to his generative AI film “Who Said Death Is Beautiful?” At Annecy in France, there was resistance to AI’s role in filmmaking, while Bucheon in South Korea offered a more receptive audience. Nakajima highlighted James Cameron’s involvement with Stability AI as a forward-thinking move, emphasizing AI’s inevitable integration into film production.
Oscar-winning VFX supervisor George Murphy described AI’s impact as an unstoppable force, likening it to a freight train. The Japanese government is proactively supporting AI adoption in content creation. Norihiko Saeki, an official from Japan’s Ministry of Economy, Trade and Industry, introduced the GENIAC (Generative AI Accelerator Challenge) program and outlined plans to establish guidelines for AI use in content production.
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