Tokyo Film Market Electrifies Global Cinema with Major Deals & Oscar Ambitions

The global film industry is experiencing a profound transformation, marked by increased international collaboration, a renewed focus on diverse storytelling, and evolving production and distribution models. Discussions at the Tokyo International Film Festival (TIFF) and its associated market, TIFFCOM, highlighted these shifts, with industry leaders emphasizing the growing importance of global outreach and inclusivity.

Kering Women in Motion, a TIFF allied program, hosted a talk event where director Kore-eda Hirokazu noted a significant surge in international interest in Japanese films over the past decade, attributing it to the efforts of directors like Hamaguchi Ryusuke and Fukada Koji. The event's panelists, including Arashi singer and actor Ninomiya Kazunari, producer Murata Chieko, and Academy Museum director Amy Homma, discussed the future of Japanese cinema and the crucial role of diversity and inclusion. Homma underscored the existence of multiple parallel film histories and truths, advocating for broader cinematic experiences to foster empathy and cultural understanding. Ninomiya shared insights from working on international productions, noting a more questioning, collaborative approach from staff. Murata stressed the need for cultural tolerance to create universally moving content, while Homma highlighted that diverse teams, encompassing varying gender expressions, ethnicities, and ages, lead to stronger, more innovative outcomes through “plural thinking.”

This drive for globalization is evident in the Academy of Motion Picture Arts and Sciences' strategy to expand the Oscars' international footprint. CEO Bill Kramer revealed that non-U.S. members now constitute 25% of the Academy, up from 5% a decade ago, with approximately 70 members in Japan. The Academy is actively recruiting from underrepresented countries and plans to make the Oscar ceremony freely available on YouTube globally from 2029, a move designed to reach 2.5 billion people simultaneously. President Lynette Howell Taylor explained the rigorous process of finding international talent through Aperture committees, affirming that increased membership does not dilute qualification standards. The Academy's commitment extends to all categories, with all recent Oscar categories having international representation, a trend accelerated by films like “Parasite” winning Best Picture. Animation, particularly Japanese anime, is also a significant growth area for the Academy's global reach.

Major studios are also adapting to this global landscape. Amazon MGM Studios Japan is doubling its investment to elevate its content to global standards. Head Buddy Marini detailed the studio’s strategy to expand into the global market, reaching diverse viewers with a wide array of genres. He emphasized “reverse-engineering” content development to ensure compelling storytelling that resonates internationally. Upcoming projects include live-action adaptations of bestsellers like “The Apothecary Diaries” and “Bless,” following the success of Japanese-language hits such as “The Silent Service.”

Producers are likewise at the forefront of this evolution. Matsuhashi Shinzo, CEO of Credeus and producer of blockbuster Japanese films like “Kokuho” and the “Kingdom” series, articulated his “right production ratio”: an interesting story, an engaging script, an excellent director and crew, and a great cast. His track record, with films grossing over JPY100 billion ($633 million) cumulatively, attests to the success of this formula. Matsuhashi also pioneered the adoption of success fees for producers in Japan, a model that has gradually gained traction. Steven Maeda, executive producer of Netflix’s globally successful live-action “One Piece” series, discussed the intricate challenge of adapting beloved global intellectual properties (IPs). He highlighted the necessity of balancing fidelity to source material for existing fans with broad appeal for new audiences, a strategy crucial for international success.

The film production landscape is also seeing innovative projects and financing models. Bikash Subedi’s Nepali feature, “Shirjara: Song of Grandmother,” a speculative drama exploring ancestral knowledge against the backdrop of artificial intelligence, is seeking $44,000 in gap financing at TIFFCOM for a Cannes 2027 premiere. Shot at 4,000 meters in Nepal, the film aims to bring technology into a deeper conversation with history and humanity, with Subedi developing a unique “AnI Cinema” (Ancestral Intelligence) movement. Similarly, the Thai horror film “Cher,” based on Nang Mai folklore, is the only Thai entry in the 2026 Tokyo Gap-Financing Market, having already secured a top prize at Canada’s Frontières Co-Production Market. Directed by Songsak Mongkolthong, it seeks to build global momentum ahead of its 2028 release.

Furthering international collaboration, Daily Capital, a new fund focused on Taiwan-Japan film and television co-productions, launched at TIFFCOM. Aiming to raise NT$100 million ($3.1 million), the fund plans to invest in at least five projects over two years, leveraging Japan’s IP and production expertise with Taiwan’s flexible financing and co-production experience. Its first announced investment is “Love Ends in Bloom,” a historical romance set in 1930s Taiwan, slated for filming in 2027.

Director Ueda Shinichiro, known for his self-reflexive filmmaking in works like “One Cut of the Dead,” presented “Earthlings in Love” at TIFF. This new feature, initially released as 30 short, vertically shot social media episodes, was adapted into a 111-minute theatrical film. The story, inspired by Ueda’s own reflections on memory and its discrepancies, follows a director with young-onset dementia. Ueda utilized the vertical format not only to suit social media but also to connect with the film's themes, such as limited vision as a symptom of dementia, leaving elements to the viewer's imagination. He contrasted the fast-paced, attention-grabbing editing required for social media with the ability to build longer narrative arcs for a theatrical audience. Ueda believes that while the vertical shorts market will continue to grow, theatrical spaces will endure as unique, communal “sacred places” where audiences can collectively engage with a story without digital distractions.

In conclusion, the various discussions and projects at TIFF highlight a dynamic and interconnected global film industry. From expanding Academy membership and streaming accessibility to strategic co-productions and innovative storytelling formats like vertical cinema, the industry is embracing diversity, leveraging technology, and constantly re-evaluating how to connect with audiences worldwide while preserving the unique magic of the cinematic experience.