Japanese filmmakers now book deals before their movies are even finished

TIFFCOM, the market exhibition accompanying the Tokyo International Film Festival, sold out its space early this year. Managing director Ikeda Kaori says the full booking reflects a shift in how Japanese producers operate. More companies are now using the Tokyo venue to find partners while projects are still in development rather than waiting until content is finished.

Last year's event drew more than 4,600 industry professionals from 46 countries and regions. Attendance rose 13% compared to the previous year. Ikeda credits global interest in Japanese content for a large part of that growth. She notes that Asia is now one of the world's largest markets, with governments across the region actively backing their content industries.

The Tokyo IP Market has expanded to include 10 participating IP holders this year. It adds new categories, including toys. The pitch format has also changed. Each company now gives a focused pitch on its flagship IP. This follows the market's expansion to the Cannes Film Market, where more than 700 people registered for pitches and panels. The audience there was mostly from Europe and Hollywood.

The Tokyo Gap-Financing Market lists 24 live-action and animation projects for this year. It has partnered with Canadian genre outfit Frontières. Ikeda says Japan, Thailand, and Indonesia stand out for genre films like horror and thrillers. Horror in particular is often rooted in local culture, making it unique. The market aims to widen the mix of projects and give Asian films a route into North America.

Two projects developed through the gap-financing market are at this year's Tokyo International Film Festival. The film 'The Violinist,' which took part in 2023, won the top prize at Annecy this year. Ikeda says Italian and Thai financing for that project and 'Four Seasons in Java' came from connections made at TIFFCOM. She describes festival selection as a major initial bonus for a gap-financing market whose primary goal is film completion.

Japanese broadcasters are prominent in the conference program. TBS will present its partnership with Legendary Entertainment and the global rollout of 'Sasuke.' Nippon TV will discuss its global strategy, including a drama co-produced with South Korea. TV Tokyo will present a case study on taking IP overseas through experiential exhibitions. Ikeda notes that while terrestrial TV remains strong in Japan, broadcasters are accelerating global initiatives.

Ikeda identifies a shortage of talent with experience in international co-production as the biggest obstacle for anime studios. She says this leads to a lack of established networks but also represents room for growth. The program includes a conference on international anime co-production. It also features sessions on AI and data analytics, with AGBO providing this year's keynote.

The schedule includes showcases for Taiwanese projects and presentations from Chinese content. Co-production discussions involve Brazil, Canada, and Japan. Ikeda sees TIFFCOM's role as a marketplace for Japanese content and a hub for Asia as two essential pillars. She cites rapid growth in Southeast Asia's economic strength and production capabilities. She wants the market to keep adapting to changing trends and formats.