The Tokyo International Film Festival puts a big store behind its Asian programming. However, defining the definition, validity and direction of this sector are all up for discussion. I interviewed a variety of top programmers Ichizaka Kenji to reset it.
What are the standards and principles that you adhere to in the programming of the Asian Future Department?
When the Tokyo International Film Festival originally started in 1985, there was only one category called the Youth Film Competition. So from the beginning, the festival has always had the intention of encouraging and supporting young and up-and-coming filmmakers. And I would say that the Asian Futures category, which began in 2013, today carries this spirit very strongly.
We select only world premieres. The first, second or third films must be by a director. If there are other excellent films from the region, the festival has other sections, so we discuss them with the Chairman.
What definition of Asia are you using? There is a lot.
In fact, there is a definition given by the Japanese Ministry of Foreign Affairs, which includes only what amounts to Pakistan. The region, including and western Afghanistan, was given another regional name. Our definition is somewhat similar to the Asia Pacific region, including the Middle East. We have included Australian and New Zealand films in the past. I think it’s easier for the Japanese or the Japanese public to accept because there is something like a sea route that connects us to that area.
We started including the Middle East after 9/11. Because since that incident we have felt strongly that we must make efforts to try to understand Islamic culture. The Islamic cultural area extends from the Middle East all the way to Indonesia or the Philippines. So instead of dividing that long corridor of Islamic influence in the middle, we felt we should be more inclusive.
The Asia Pacific region, defined in this way, has vastly different cinematic standards and traditions and an available budget. Do you allow for these differences when choosing?
This is correct. But instead of looking at the situation in which the films were created, we look at the subject matter of the films and what they are trying to tell through their work. There is common ground. A story about Aboriginal people in Australia can be linked to Aboriginal people in other countries – or refugees, immigrants and minorities. There are many films that depict the struggles of women for example, as well as the struggles of sexual minorities. Thus, there is justification for placing them in the same department.
The second point I look at is the rules of narration. There may be something new and desirable, even if it is in an approximate state. We call this section the “Asian future” after all.
So how well is Asia doing?
The COVID 19 pandemic has created a variety of different circumstances – masks, no masks, people act as if nothing had happened – both in terms of the film-making environment and the content of their films – that the landscape is quite diverse. I expect things will settle down and we will be able to see the future more clearly.
Broadcasting affects and changes cinema. Theatrical cinemas are increasingly focusing on big budget shows [meaning that] Independent cinema and art cinema, they are pushed to the margins somewhat. So, is streaming now where independent Asian cinema has its future?
we had to [by the pandemic] To stay at home for a while. I was able to watch a lot of movies that I missed before, thanks to the live stream. I have no intention of canceling the stream at all.
But when you compare the big commercial theaters and art houses, it looks to me like a park versus an art museum. Commercial theaters are like an amusement park, with a large number of people rushing into it, spending time and then all rushing in on a large scale. While the art museum will display something really valuable. There is one in town. And those who really love art will make time to go there. I hope they both coexist. It is definitely my wish that they do that.
These furnishings need support from the government and from some public organizations, which is not really happening enough in Japan.
Do you think Asian cinema gets the global recognition it deserves?
Compared to twenty or thirty years ago, they definitely get more attention. Many Asian films are now shown at the three major film festivals. In the past, there were times when only one director from each Asian country was cast: Kurosawa from Japan, and Satyajit Ray from India. Now many filmmakers are presented. And many prizes you win. Going back to what I said earlier about the common themes facing humanity, Asian films do better than European or American films in terms of presenting the issues. Because of this, they are being noticed more than before. However, the commercial distribution system is still largely focused on American and European films. Therefore, in this regard, streaming can be useful in presenting relatively unknown films made in less well-known countries.
The Tokyo Festival is the co-organizer of the Asian Film Awards, but the awards did not take place this year.
They will continue. It is co-sponsoring the Hong Kong, Busan and Tokyo Film Festivals. And I’m on the board. Due to the pandemic, some activities have become irregular. But they will be restarted next year.
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