Saturday, October 08, 2016
A BRIDE FOR RIP VAN WINKLE (RIPPU BAN WINKURU NO HANAYOME)
October 4, 2016
Q&A guests: TIFF Director in Focus Shunji Iwai,
Japan Now Progam Advisor Kohei Ando and TIFF Director General Yasushi Shiina
From left, Ando, Iwai and Shiina discuss TIFF's upcoming salute to the director. ©Koichi Mori
The Film Committee has been cohosting events with the Tokyo International Film Festival (TIFF) at FCCJ for nearly a decade, but the past two years have been especially exciting for us, thanks to TIFF’s newfound focus on Japanese film. Anyone who has attended FCCJ’s screenings over the past nine years knows that our emphasis is on introducing Japanese films and filmmakers to international audiences through the Tokyo-based journalists, critics, festival programmers and cinéphiles who join us for our events.
In 2015, TIFF established two new sections devoted to Japanese film, Japanese Classics and Japan Now, and included nearly 80 Japanese films across all the sections in its lineup. This year’s 29th iteration of the festival will be equally Japan-centric, with two local titles in the main Competition selection and dozens more in the Special Screenings, Asian Future, Japanese Cinema Splash and other sections. Among the highlights will be the world premiere of the first TIFF-Japan Foundation international coproduction, Asian Three-Fold Mirror: Reflections, a special Kabukiza program with kabuki performance and film screenings accompanied by a benshi narrator, and personal appearances in The World of Mamoru Hosoda tribute.
Among this embarrassment of riches, our heart still belongs to the Japan Now section, presided over by Program Advisor Kohei Ando. A genius at selecting the most piquant, provocative, evocative films among those that hit Japanese theaters during the year, Ando has also made another brilliant choice for the section’s Director in Focus: acclaimed creative force Shunji Iwai. Despite being one of Japan’s most famous exports — especially in Asia, where new Iwai releases are trumpeted like the Second Coming — Iwai has not yet been the subject of a career retrospective in his own country.
Shiina marks his fourth year as TIFF leader with another round of welcome enhancements. ©Mance Thompson, Koichi Mori
Ando and TIFF are correcting that. Japan Now will be featuring five Iwai films, including the 1993 work that kicked off his career, Fireworks: Should We See It from the Side or the Bottom?, and his latest hit, the enchantingly enigmatic A Bride for Rip Van Winkle (2016) in the festival’s mini-tribute, with Iwai on hand for Q&A sessions.
Iwai and Ando appeared at FCCJ to discuss details of the tribute, along with TIFF Director General Yasushi Shiina. The evening then continued with a special screening of A Bride for Rip Van Winkle and an hour-long Q&A session with Iwai.
Shiina is marking his fourth year at the helm, and continues to oversee enhancements and expansions to the only festival in Japan accredited by the International Federation of Film Producers Associations (FIAPF). In his opening remarks at FCCJ, he noted, “This year, TIFF will be showing the past, present and future of films. The Japan Now section features present Japan. In our new Youth section, we will focus on films that portray… the future. The Japanese Classics Section revisits the past history of Japanese cinema.”
Shiina stressed that the Youth section, featuring films for children and teens, aims “to bring in younger audiences, as they will be the generation to carry on the future of cinema.” Among other highlights, he mentioned that a a plethora of open-air screenings will be held this year, taking advantage of Tokyo’s mild fall temperatures. (Knock wood.)
Shiina also expressed his delight with Kohei Ando’s selection for Japan Now, which the filmmaker-academic has programmed since its inception in 2015. “He is selecting the films 3 to 4 months prior to the festival,” said Shiina, “including films that haven’t been released or been played up in the press. I think he has an exceptional eye, and I feel confident leaving it all in his hands.”
Ando returns for his second year with another spot-on selection for Japan Now, including the year's two surprise blockbusters. ©FCCJ, Koichi Mori
A showcase of outstanding Japanese titles from recent and coming months, the section highlights the diversity of the domestic film industry, as well as providing a multifaceted look at the country today. TIFF’s English-subtitled screenings are also meant to help boost the films’ recognition internationally. “There will also be special guest appearances,” said Ando, “including Makoto Shinkai, director of [box office juggernaut] Your Name; Kiyoshi Kurosawa, director of Daguerrotype; Koji Fukada, director of [Cannes prize-winning] Harmonium, stars and surprise guests and many more.”
A journalist in the FCCJ audience asked, “Do you decide your selection based on whether a film has international appeal? Is that your main criteria?” Responded Ando: “Great question. No, it’s not about international appeal; it comes down to whether it’s a good film or not, whether I would want to introduce it to international audience. What is a ‘good’ film is difficult to define, so my own personal taste also goes into the selection. But it is, first and foremost, about showing good films.”
The Japan Now Director in Focus tribute allows Ando to help expand the overseas recognition of midcareer creators like Iwai, whose groundbreaking style and youth-focused vision have been internationally acclaimed in such masterworks as Love Letter (1995), Swallowtail Butterfly (1996), All About Lily Chou-Chou (2001) and Hana and Alice (2004). Iwai is the only Japanese director who has shot films in New York (for the 2008 omnibus New York, I Love You), Paris (as producer of the 2010 I Need to Buy New Shoes) and Vancouver (his 2011 English-language debut, Vampire). In a career of infinite variety, he has also written novels and made an animated feature (The Case of Hana and Alice, 2015), documentaries (The Kon Ichikawa Story in 2006; Friends After 3.11, about the long-lasting devastation in Fukushima), as well as dozens of much-imitated music videos.
Iwai has crafted singular films for over 20 years. ©Koichi Mori
Ando chose Iwai, he said, after first seeing his latest film, A Bride for Rip Van Winkle. “I immediately felt proud being Japanese,” he told the FCCJ audience. “He has such a unique aesthetic, but he also has an allegorical way of storytelling, a way of bringing the sentiment of young Japanese to the screen. I think this time, he’s really topped himself.”
Asked how he had decided on the Iwai lineup, Ando said, “It was so hard to narrow it down to just a few films, because Mr. Iwai has made so many wonderful works.” In the end, he decided to bookend the selection with Iwai’s earliest and latest masterpieces, and to also include Love Letter, “an unbelievable feat for a first feature” and the underseen, English-language Vampire, which is “infused with his distinctive aesthetics.”
He lamented that he couldn’t show such hits as Hana and Alice and the groundbreaking All About Lily Chou-Chou, but stressed, “Of course Mr. Iwai is already hugely popular with the Asian audience, and has won awards in America as well” — including a Lifetime Achievement Award from the New York Asian Film Festival in July — “but he still doesn’t have the reputation he deserves in countries like France. I hope Europeans will watch his films at TIFF, and help spread the word.”
Asked to comment about his selection as Director in Focus, Iwai said, “I’m very pleased to be selected. It’s a huge honor for me, and I’m glad that five films will be screened for TIFF audiences.” Reminded that Love Letter had been the first Japanese film to screen in Korea during the country’s long-running ban on Japanese works, and had been such a monster hit that it led to a gradual easing of quotas, Iwai mentioned that he had been on a promotional tour to Korea the week before. “I went for the release of A Bride for Rip Van Winkle,” he said, “and I was invited to appear on a news program on one of the leading TV channels. They told me it was the first time a Japanese person had appeared on the program. It reminded me of the time when they couldn’t even show the Love Letter trailer on TV, since the Japanese language was prohibited. In retrospect, I think I may have been destined to act as a bridge between cultures, and it dawns on me that it’s a huge responsibility.”
Iwai was asked whether he had any plans for a coproduction in China, since he’s been spotted there recently. “I actually have produced a couple of films with China and am working on a few at this moment,” he said. “It’s a very good thing for directors like me, who have our own distinct style, when film markets open up and expand. Hopefully, there’s a trickle-down effect, where the bigger the market becomes, there can be more room for art films [like mine] as well.”
A Russian journalist then asked whether he might have plans venture into the Russia market. Iwai laughed. “I’ve had the pleasure of attending the Moscow Film Festival before, and to see many Russian films,” he said. “I think Russian films are extravagant in the best way. They have this Dostoyevskian scale to them. I understand that Russian people like long stories, so if the opportunity falls on me, I would be more than happy to take on the challenge. Perhaps I could follow in the footsteps of Mr. Kurosawa, who did Dersu Uzala [in Russia].”
Asked whether he had plans to continue directing animated films, the director answered: “I take my own approach to creating animated work. I have a team with me, and we make music videos, as well. I also like to draw, so working on animation brings me that joy. Greedy as it may sound, I would like continue to create both live action and animated work.”
He was then asked: “Do you think there’s any significance to having your films shown at festivals, as opposed to having them released commercially?” Iwai’s answer was surprising. “It’s a good opportunity for me as a director to sit back, relax and enjoy my films together with the fans and critics,” he said. “There’s unbelievable pressure with commercial releases, so I can relax and enjoy festivals a lot more.”
Iwai was clearly relaxed at FCCJ, too, and was extremely generous with his time during the Q&A session that followed A Bride for Rip Van Winkle. Returning to the dais once again to chat with the large audience (many of whom had been there for 4 hours) after the screening, he spoke in both Japanese and English on a range of subjects related to the film, from casting to inspirations to censorship to the film’s apparent criticisms of societal issues.
©FCCJ, Mance Thompson
Adapted from Iwai’s own novel of the same name, the film returns to the aching melancholy of several earlier romances, but introduces new notes of cynicism. Nanami (Silver Bear-winning actress Haru Kuroki) has been sleepwalking through life, her docility and submissiveness almost terrifying to behold. Like the legend of Rip Van Winkle, in which the protagonist awakens after 20 years to an unfamiliar world, she is about to be rudely shaken out of her slumber.
A lost soul whose loneliness makes her deeply gullible, she is only able to express herself by adopting another identity on the social network Planet. On the site, she meets a fellow teacher and they soon plan to wed, although we learn that she has divorced parents, no interaction with relatives, and no friends she can invite to the reception. Through Planet, she meets jack-of-all-trades Amuro (Go Ayano), who provides actors to play her family at the wedding. Her marriage thus begins with an innocent-seeming deception, and sure enough, it begins to unravel.
Nanami turns to Amuro again when she suspects her husband is cheating and he continues to appear whenever Nanami’s in need, rescuing her for a hefty fee. Eventually, he finds her a job in an enormous mansion, which she shares with the outgoing Mashiro (Cocco). The two women bond tightly in this otherworldly setting, becoming the sisters and friends that neither has. But who is its owner and why have they really been brought there…?
© 2016 A Bride for Rip Van Winkle Film Partners
A female viewer asked the first question after the screening: “The marriage at the beginning of the film symbolizes a kind of imprisonment, but the second time around, it’s a kind of liberation. Was that deliberate?”
“My point is not which is better,” Iwai answered. “My point is that happiness is elusive. Yes, Nanami meets Mashiro and they’re so happy. But my point is that even days that never happen can give us happiness. Sorry, it’s hard to explain.” A little later, he said, “It’s really a harsh, cruel story that I’m telling. Nanami finds only a fleeting happiness, and it’s based on a deception.”
Another journalist queried, “In China, we talk about the character of Nanami as being weak and strong at the same time — so we feel she must be a metaphor for Japan itself. Is that your intention?” Sidestepping the question’s political overtones, Iwai said, “She appears to be weak, but whether that’s an inherently Japanese trait, I would say ‘No.’ The same goes for her naiveté and sensitivity. She’s also resilient and a survivor, but whether this is Japanese or not depends on the individual.”
Iwai admitted, however, that he was intentionally making points about Japanese society: “I did make an effort to depict how Japanese are unconditionally willing to use all the technology at our disposal without suspecting a thing. Nowadays, at the click of a button, you can summon a car, you can summon a person. I think we’re all overly eager and too trusting of these services.”
Interpreter Mihoko Imai and Iwai react as the emcee asks, "Where do you walk? Maybe I could accidentally run into you." ©Koichi Mori
The conversation took a more personal turn with questions about Iwai’s inspirations for the story and his approach to writing. “I wrote the script chronologically, and a lot of the scenes are based on things I’ve heard,” he explained. “My friend met his girlfriend on Facebook, which is similar to how Nanami meets her husband. I met some people in an izakaya who told me they were acting as family members for weddings. I also have a friend from school who went into the AV industry, like the Mashiro character, and I met her mother, who was complaining about it. Doing research is important, but when you can hear about things from your friends, it has greater impact.”
As for writing, Iwai revealed, “The most helpful thing for me is walking. I love walking. I walk every day when I’m writing a story. There’s a turning point where I go back to my house, and I found a clothes shop called Rip Van Winkle. I borrowed the name for the title and thought I would change it to something else, but I never did.”
Only a creator of Iwai’s stature could possibly devise such incredibly intricate plot machinations from the name on a store window, and assemble them so they unfold in such deliciously ambiguous — and unexpectedly moving — ways. But A Bride for Rip Van Winkle reminds us once again that he is one of cinema’s most masterful storytellers.
In the final minutes of the Q&A session, Iwai said, “We can’t always be the person we should be. Sometimes we’re good, sometimes not. I wanted to focus on how even people like porn stars and conmen, or murderers, or people who love sucking blood [a nod to his Vampire] still breathe the same air we do. They see the same sky above their heads. I couldn’t stop thinking about that, and it was my greatest motivation. People like that can make us notice another point of view and inspire us to create something.”
- The digital age of relationships and filmmaking
- Shunji Iwai’s window on contemporary Japanese society
- 「映画通し外国との懸け橋に」 岩井俊二監督
- 岩井俊二監督が映し出す世界 最新作「リップヴァンウィンクルの花嫁」で描かれる日本の今とは？
Sunday, October 11, 2015
SPECIAL SCREENING of Kakekomi and
Q&A in collaboration with TIFF
October 9, 2015
Q&A guests: Director Masato Harada, legendary actress Kirin Kiki,
Japan Now advisor Kohei Ando and TIFF Director General Yasushi Shiina
Ando, Harada and Shiina listen as Kiki declares she just "tagged along with the director" for the event.
Anyone who has attended FCCJ’s screenings over the past eight years knows that our emphasis has been on introducing Japanese films and filmmakers to foreign audiences through the Tokyo-based journalists, critics, festival programmers and cinephiles who join us for our events. We were thus extremely gratified to hear that the 28th Tokyo International Film Festival (TIFF), running from October 22 - 31 in Roppongi and Shinjuku, would debut not one, but two new sections devoted to Japanese film: Japan Now and Japanese Classics.
When the full lineup was announced on September 29, the news was even better: three Japanese titles had made it into the main Competition section, and there were to be over 50 more English-subtitled films by a range of Japanese directors at the festival, from the likes of Akira Kurosawa and Kon Ichikawa (Classics) to Hirokazu Kore-eda and Sion Sono (Now) to Kohei Oguri and Koji Fukada (Competition), along with a 10-title tribute to Ken Takakura,
Perhaps most exciting of all, TIFF announced that it had selected Masato Harada as its inaugural Director in Focus, and unveiled what amounts to the first mini-retrospective of his work. Over a 30-year career, Harada has created a range of compelling films that are both social criticisms and world-class entertainments, and he is one of a small handful of Japanese who are comfortable directing overseas, as well.
Ando and Harada share a laugh; Harada listens to Kiki describe his skill.
The Film Committee has had the honor of screening three of Harada’s recent films, and we were thrilled to be able to bring his early summer blockbuster, Kakekomi, to the club for an English-subbed encore.
Before the screening, we welcomed TIFF Director General Yasushi Shiina, TIFF Programming Advisor Kohei Ando, Harada and legendary actress Kirin Kiki — who won the Japan Academy Award for her titular role in Harada’s 2012 Chronicle of My Mother and also stars in Kakekomi — to discuss the festival’s new emphasis on local cinema.
Noting that there are over 500 Japanese films released every year in Japan, Shiina said, “This is my third year as the director of TIFF, and I’ve been wondering how best to introduce Japanese films and filmmakers to the world. We wanted to create a selection that would allow visitors to TIFF to see the full spectrum of films, to see what’s happening in the industry right now. We also wanted to focus on getting more recognition for Japanese filmmakers in overseas markets, and that’s why we created the two new sections, Japan Now and Japanese Classics. We look forward to welcoming audiences from as many countries as possible.”
Kohei Ando, a filmmaker, producer and popular figure on the international film scene, was selected as the first programming advisor for the Japan Now section. He noted: “People often say that if you see three films from one country, you can learn a lot about that country. The concept of Japan Now is to help you learn more about Japan. We narrowed our selection to 11 films, one of which is a family story from maestro Yoji Yamada and another of which is from Hirokazu Kore-eda, also about a contemporary family. If you watch just these two films, you’ll have an understanding of the diversity of Japanese families today.”
“We decided to focus on Mr. Harada as the first Director in Focus,” Ando continued, “because we believe he deserves increased international recognition as a master filmmaker, and we also hope Japanese audiences will be reminded of his extraordinary talent.”
Harada and Kiki have collaborated on only two films; here's hoping they double that number.
Harada said, “I’m not sure whether I belong to Japan Now or Japanese Classics (much laughter), but I’m honored to be selected and to show these five films. The last time I had a film shown at TIFF was in the Competition section 22 years ago, with Painted Desert. I’m very happy to bring my work to a festival in my own country, and I look forward to meeting audience members from all over the world.”
After joking that she had just “tagged along with Mr. Harada,” Kirin Kiki got more serious. “Mr. Harada is so enthusiastic about the works of other directors,” she said, “he’s always mentioning certain scenes in films by Kurosawa, Ozu and Kihachi Okamoto with such passion and enthusiasm, it’s one of his charms as a director. I see him trying to be an even better filmmaker than these masters, sometimes succeeding, sometimes not. But he’s very, very skilled, and… yahari, umai! (he’s wonderful!).”
The Director in Focus retrospective will feature English-subtitled screenings of Harada’s Kamikaze Taxi (1994), Climber’s High (2008), Chronicle of My Mother (2012), Kakekomi (2015) and The Emperor in August (2015). How did Ando and Harada arrive at this selection? “It’s simple,” Harada explained. “These five films were all rejected by the Cannes Film Festival.”
Ando interjected, “It’s really Cannes’ loss — we beat them this year by bringing these five films to TIFF.”
Later in the evening, following the screening of Kakekomi, Harada’s first-ever jidaigeki period piece, the director and his star appeared for a Q&A session that was one of the most relaxed and intimate we have ever hosted. Speaking in English throughout (except when making remarks directly to Kiki), Harada fielded questions on a range of subjects, beginning with the reception of his films overseas.
He noted that audiences in Canada and Malaysia had laughed wildly over Kakekomi’s honey enema scene, and applauded when one of the antagonists is killed, a real difference from the more reserved Japanese audiences. He then revealed that he thinks not only about how his films will be received internationally while he’s directing them, but that he even considers how certain lines of dialogue will play in the subtitles. For Kakekomi, he changed character names from the original source novel so they would be more easily rendered in the subtitles.
Kiki stayed on for the Q&A after the screening, and kept everyone in stitches, including
interpreter Mihoko Imai.
Kiki mentioned that she and Harada had argued rather extensively about certain casting decisions, but that she feels “completely comfortable” working with him, and was pleased that he could quickly make decisions about suggestions she would make. Harada countered, “It’s true that everyone was afraid of Kiki-san on set, but with her, there’s never a dull moment. Even though she complained about the casting, she can really create an energized atmosphere. I highly respect when she makes suggestions. She can come up with fabulous creative ideas, although I’m not sure she would make a good casting director.”
Both director and star continued to affectionately thrust and parry. “I think he’s a masterful, masterful director,” said Kiki. “But I can’t help complaining a bit. I don’t want to compare his work with other auteurs, but it is definitely worthy of more international praise. However, I think he should be more relentless in his perfection of small details. And he needs to put more of himself into his films. When he’s finally able to do that, I think we’ll see something different. He’s a world-class director now, but if he makes an effort to do what I’m suggesting, he’ll be even greater.”
Harada’s 23 films over the past 30 years have addressed a wide range of subjects — what he terms “Hawksian relationship dramas” in an “old-school style”— that are perhaps not as embraceable by younger generations as the more gonzo style of Japanese genre directors who have found overseas followings. But his work is ripe for rediscovery.
And fortunately, we can expect it to continue. Harada hinted that another collaboration with Kirin Kiki is sure to occur: “I have something in mind, which I can’t announce yet. It’s a historical piece and the character I have in mind for Kiki-san is someone that no one would ever imagine...”
— Photos by Koichi Mori and FCCJ.
- Tokyo film festival ups its domestic fare
- Spotlight on Harada films is well-deserved
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- 樹木希林 映画祭“乱発”に「まとめる人が日本にはいない」
- 樹木希林、原田眞人監督を賞賛 「腕がある。やはりうまいね!」
- 東京国際映画祭 原田眞人監督、樹木希林さんが会見
Tuesday, November 25, 2014
FILM FESTIVAL FEVER
Apples and oranges: both taste sweet.
Much is made, at this time of year, of the differences between the Tokyo International Film Festival (TIFF) and TOKYO FILMeX (Filmex), despite there being no reason whatsoever to compare them. A brief rundown makes the disparities clear: TIFF is now in its 27th year and remains the only Japanese festival accredited by the FIAPF (just 15 festivals qualify for this A list, including Berlin, Cannes, Montreal, Shanghai and Venice). Filmex marks its 15th anniversary this year, and remains small and specialized by choice. TIFF is presided over by a director-general who changes every few years, since the position is shared between a handful of Japan’s most powerful studio-distributors, under the aegis of the Ministry of Economy, Trade and Industry and the Tokyo Metropolitan Government. Filmex, which is backed primarily by Office Kitano (as in "Beat" Takeshi) and the bicycle racing organization Keirin, has been overseen by its two devoted founders since it began in 2000. TIFF generally screens over 100 films each year, while Filmex’s lineup is only a quarter of that.
So this type of side-by-side evaluation is essentially meaningless. Film audiences in the Kanto area are fortunate that both festivals exist, and both are due praise as well as constructive criticism. In this era of dwindling public funding for cultural events, increasing competition from other film festivals (especially to snag world and national premieres) and static attendance numbers, festival organizers must juggle an array of often contradictory demands just to stay afloat.
A recent article about TIFF derided its "glitz and glamour," which is absolutely beside the point. Like Cannes, where glitz and glamour reign supreme (there is even an Official Cannes Shop on its website), A-list international film festivals must always balance high art with utter baloney. Just check their red carpet videos if you think Berlin, Venice, et al. are above celebrity fawning, and their lineups if you think they are really "all about the films."
Yet TIFF’s reputation as being aspirational, rather than inspirational, continues. This is partially due to its management structure, which makes its art-vs.-commerce balancing act more difficult and has virtually precluded organizers from establishing an ongoing "vision" for the festival. But the laudable work of its veteran programming crew, led by the indefatigable Yoshi Yatabe, with Kenji Ishizaka overseeing all the Asian selections, is too often overshadowed by the festival’s Special Screenings section. Because TIFF occurs just before the fall’s high-profile films hit the theaters, Japanese distributors use this section as a platform to publicize upcoming releases — and they share costs with TIFF to bring a bevy of the festival’s biggest stars to the red carpet.
TIFF Muse Miki Nakatani works the red carpet. ©2014 Aude Boyer
Although Special Screenings account for a small portion of the films screened at the festival, it is these that TIFF often earns its critical drubbing for; while the exceptional films shown in the Competition, World Focus, Asian Future and (sometimes) Japanese Splash sections are too quickly forgotten. But the art-to-commercial film ratio is surprisingly high at TIFF, with internationally heralded selections that Tokyo audiences are unlikely to ever see in theaters, since Japanese distributors have grown increasingly conservative about releasing arthouse titles, particularly foreign ones.
Amply earning the "international" in its name, TIFF brings a staggering array of films from around the world to Tokyo audiences each year, and past award winners include titles from Uruguay, Bosnia-Herzgovina, Albania, Bulgaria and Kazakhstan, along with many European and Asian countries. A glance through the annual Competition section lineups reveals a decided preference for arthouse fare, with many of the films verging on the social-realist miserablism that Filmex specializes in.
This year’s TIFF Grand Prize went to one such: the drug-addiction saga Heaven Knows What by sibling directors Joshua and Benny Safdie, marking the first time an American film had received the honor since John Sayles’ City of Hope in 1991. Of all TIFF winners, only the 2011 Grand Prizewinner, The Untouchables, by French directors Olivier Nakache and Éric Toledano, has actually been a box-office slam-dunk (and the most successful French film ever shown in this nation of Franco-cinephiles).
Walking with My Mother ©2014 Supersaurus Inc.
The Movie Committee will be screening the TIFF film
Walking With My Mother, a wrenchingly truthful documentary
about aging and loss, by director Katsumi Sakaguchi, in April.
During its October 23 – 31 run this year, TIFF screened 175 films from 42 countries/regions, yet it will probably be remembered most for its focus on animated titles, including the first-ever complete retrospective of work by Hideaki Anno (creator of Evangelion), for its screening of Charlie Chaplin’s City Lights in the historic Kabuki-za theater, and its wide range of allied events, including a World Cosplay Summit and star chefs on hand to serve up Tokyo Cinema Cuisine.
Doraemon made his English-language debut at TIFF. ©2014 Aude Boyer
Fortunately, TIFF encourages audience feedback, as well as providing ample opportunities for attending press to chat on and off record with staff about what is and isn’t working in any given year. It’s impossible to imagine sitting down around a picnic table with Cannes President Gilles Jacob during his festival, yet casual get-togethers are precisely what TIFF Director-General Yasushi Shiina seems to enjoy most. He welcomed a group of foreign journalists, including FCCJ’s own Monzurul Huq, to essentially ask How’re we doing? on October 28.
In his second year at the TIFF helm, it is clear that Shiina is working hard to continue Tom Yoda’s successful steps toward raising the festival’s international profile. "In my first year, I tried to figure out how we could enhance the festival," Shiina told the group, "and one focus we decided on was animation, because we wanted to showcase Japanese content on a bigger scale." To a suggestion that the focus may have been too much of a good thing, Shiina conceded, "When we announced the initiative last year, the press started calling us the ‘Tokyo Anime Festival,’ but I think animation is just one of the ways to get [younger] audiences into theaters. And our opening and closing films maybe gave the impression that we had too much animation." (TIFF opened with the world premiere of Disney’s Big Hero 6 and closed with hotshot director Takashi Yamazaki’s Parasyte, a live-action version of the popular sci-fi manga.)
Director-General Yasushi Shiina meets the foreign press.
Shiina also discussed the increase in selections from Asia: "We always wanted to focus more on Asian films, not just screening them, but having creators come to Tokyo and participate. With the Japan Foundation Asia Center [which just launched the new Crosscut Asia initiative, focusing on national cinemas in the region], we could accomplish this." He repeated his emphasis on supporting young creators: "We’re doing an event with Pia Film Festival, inviting five or six PFF films this year, not just one, and bringing the winners of student film festivals in Japan to allow them to interact and also participate with established creators like Takeshi Kitano," who was the recipient of TIFF’s inaugural Samurai Award during the closing ceremony.
Shiina is clearly grappling with a variety of challenges for TIFF’s 28th incarnation in 2015, but perhaps his biggest is to find a permanent home for the festival’s growing girth. Hampered by a lack of space and cinemas since its move from Shibuya to Roppongi in 2004, its market has taken place way out in Odaiba for the past 2 years, and many of this year’s screenings were held in Nihonbashi. "Once I accomplish the reuniting of TIFFCOM and TIFF in one location, I can retire," Shiina laughed. "But next year might be too soon."
TOKYO FILMeX has its own challenges, but an expanding slate necessitating more space is not one of them. Despite its limited size, Festival Director Kanako Hayashi and Program Director Shozo Ichiyama firmly believe that "one film festival can change the world," and their ardent audiences clearly support the notion.
From its first incarnation, Filmex has focused on assuring that there will be a "bright future of cinema" (its motto) through the education and encouragement of filmmakers throughout Asia, as well as promoting the involvement of young cinephiles and supporters through its membership program. Filmex conducts workshops throughout the year, and brings emerging practitioners from all over Asia to participate in its Tokyo Talents sessions, with mentoring by famed filmmakers and other industry veterans, in alliance with the Berlinale Talents program. It also selects a group of student filmmakers to bestow the festival's popular Student Jury Prize.
At the Filmex lineup announcement at the Embassy of Canada, Festival Director Kanako Hayashi
and Program Director Shozo Ichiyama (in red shirts) and Laurie Peters, Head of Public Affairs and
Culture at the Embassy, flank the four Japanese directors in this year's festival: Takahashi, Shinozaki,
Hiroki and Tsukamoto.
This year, Filmex features 25 films over its November 22 - 30 run, with nine Competition films vying for its Grand and Special Jury Prizes, eight from Asia/the Middle East and one from Japan (Izumi Takahashi’s Dari Marusan, the only world premiere), with acclaimed Chinese director Jia Zhang-ke (A Touch of Sin), a frequent presence at Filmex, heading the Competition jury. There are also 11 special screenings and two early David Cronenberg mini-features (part of a Filmmaker in Focus sidebar, with the great Canadian director unveiling his latest, Maps to the Stars, as the Closing film). There are also three digitally remastered works from 1960 — Nagisa Oshima's Cruel Story of Youth, Osamu Takahashi's Only She Knows and Hidetaro Morikawa's The Tragedy of Bushido in the festival’s Time of Destruction and Creation section, jointly presented with Shochiku.
The Movie Committee will be screening (at least) two
Filmex selections in 2015: Ryuichi Hiroki’s comedy-drama
Kabukicho Love Hotel, on January 8, and Shinya Tsukamoto’s
searing antiwar masterpiece Fires on the Plain, in July.
Fires on the Plain ©2014 Shinya Tsukamoto/Kaijyu Theater
The 2014 selections are unusual for the inclusion of four high-profile Japanese titles, including the Opening film, Shinya Tsukamoto’s extraordinary Venice-buzzer Fires on the Plain, Ryuichi Hiroki's crowd-pleasing Kabukicho Love Hotel, Takahashi’s Dari Marusan, and Makoto Shinozaki's Fukushima-focused Sharing, marking the popular director’s first Filmex appearance in 14 years.
Kabukicho Love Hotel costars Kaho Minami and Atsuko Maeda share a laugh at the
Filmex premiere with their director, Ryuichi Hiroki. ©2014 Aude Boyer
At Filmex’s opening ceremony on November 22, Hayashi told the audience, "In the process of selecting these 25 films, we have encountered many surprises and miracles." And then, reminding everyone why filmmakers continue to swear their allegiance to the festival, she stressed: "We respectfully recognize these filmmakers’ braveness, determination and affection for the audience."