Tag: Japanese Film Festival

Save the Date: Asian film festivals in 2022

The last couple of years have left us pondering what the future of film festivals could be. After all, global festivals have done so much pivoting over the last few years that they might need to take a Dramamine for the motion sickness.

Yet film always finds a way. As we look to the year ahead, a plethora of exciting festivals are set to showcase cinema online and back onsite in cinemas. As The Reel Bits perpetually has Asia in Focus, we thought we’d highlight those festivals that not only showcase Asian cinema, but also know how to show the audience and fans a good time.

At the time of writing, all of these festivals are assumed to go ahead with their current dates. That said, several are still TBA — and who knows what 2022 will bring?

International Film Festival Rotterdam

26 January – 6 February

The folks at the International Film Festival Rotterdam have been masters of pivoting over the last few years. After going fully online in 2021, plans for 2022 quickly changed due to the pandemic uptick throughout Europe. Running from 26 January to 6 Februrary, IFFR has announced the full line-up for the festival this year. Their selection of Asian films is impressive, with brand new films from the ubiquitous Miike Takashi, a retrospective of Qiu Jiongjiong’s films and lots more. For a full program and screening details, check out the official festival site.

Japanese Film festival Online 2022

14 – 27 February

Ahead of the face-to-face festival later in the year, JFF has announced a worldwide and online event showcasing Japanese cinema. From 2021 releases like It’s a Summer Film, Aristocrats and Ito and classics ranging from Rashomon to Her Love Boils Bathwater, it’s a great way to discover something new. “During the time when out-of-house activities wouldn’t be your first choice, we have brought fun and refreshment into your living room (or bedroom),” says the JFF website. “We hope that this festival will offer you a new and jolly journey.” Check out the festival site for full details.

Mardi Gras Film Festival

17 February – 3 March

Queer Screen’s 29th Mardi Gras Film Festival invites audiences on a mission to the Queer Frontier. With big titles from around the world, Queer Screen has a strong focus on Asian cinema as well. There’s a terrific selection of films from China, South Korea, Hong Kong and Taiwan, along with the amazing Asia Pacific Shorts program. Available in person and online, you can check out our full rundown of titles. Just know you need to check it out. Periodt.

Osaka Asian Film Festival

10 – 20 March

As one of the first major Asian film festivals of the calendar year, there’s a lot to get excited about. As the host of the JAPAN CUTS award for indie films, and a competition stream that includes the Grand Prix and Most Promising Talent Award, Osaka is the place to keep an eye out for some of the hot tickets for the year. Their official site has all the details.

Hong Kong International Film Festival

31 March – 11 April

Now in its 46th year, the HKIFF remains one of the oldest film festivals in Asian and one of the biggest cultural events in Hong Kong. Screening over 280 titles from 50 countries in 11 major cultural venues in Hong Kong, the inclusion of the Young Cinema Competition (for Chinese Language or World Films) and FIPRESCI Prize ensures that it remains one of the most prestigious Asian festivals in the world.

Nippon Connection

24 – 29 May 2022

Germany’s Nippon Connection Film Festival is back for its 22nd edition this year. Every year, the Nippon Connection Festival presents a cross section of current Japanese film production with around 100 films, from short films and documentaries to animated and feature films, including many German, European, and international premieres. Even being online last year, there was some weird and wonderful content that couldn’t be found anywhere else. Here’s looking forward to more of that.

Annecy Festival

13 – 18 June

While not strictly an Asian film festival, this prestigious animation festival is all about animation. Of course, that typically means a huge Asian representation, typically including films from China, Taiwan, South Korea, Singapore and of course Japan, the anime capital of the East.

Sydney Film Festival

8 – 19 June

A festival we’ve been covering longer than any other and for good reason too: it’s one of the best. After an online 2020 and a continually shifting series of dates in 2021, SFF is back in its traditional slot around the June long weekend. The Antipodean location ensures access to some quality South East Asian content, along with a traditional focus on Iranian film. Check out all of our past coverage.

New York Asian Film Festival

TBA July/August

NYAFF is a one-of-a-kind celebration of films from across Asia and the Asian American experience. Each year it showcases films from Japan, China, Malaysia, Myanmar, Philippines, Singapore, South Korea, Thailand, Taiwan, the USA and even Kazakhstan. We’ve been covering them for the last few years, and the only problem we’ve ever had is fitting in all of the wonderful content they serve up every year. This year, they turn 21 and we can’t wait to have a drink with them.

JAPAN CUTS

TBA July/August

You couldn’t ask for more from a festival than the magnificent JAPAN CUTS. Since its launch in 2007 with around 15 films, it now averages about double that every year. The massive celebration of contemporary Japanese cinema is one of the best ways to see what is making waves in Japan — and who the emerging voices might be.

Fantasia Film Festival

14 July – 3 August

For several years, the very generous genre festival has given us press access to their titles. It’s been an absolute joy, not least of which is because they tend to have a massive selection of Asian cinema. Last year alone there were over 50 features from Japan, South Korea, Taiwan, China, Malaysia, Hong Kong, Singapore and beyond. There were also dozens of shorts and last minute additions of major blockbusters. Every year is a joy so here’s looking forward to this one.

Melbourne International Film Festival

4 – 21 August

The timing of MIFF is always perfect to get the latest drops from Cannes, and this year is bound to be big. The 70th Melbourne International Film Festival marks it as one of the oldest festivals in the country. While also beleaguered by lockdowns and restrictions over the last few years, here’s looking forward to capping off an Australian winter with the best of the best.

Taiwan Film Festival in Australia

28 July to 13 August 2022

Submissions are already open for the 5th Taiwan Film Festival in Australia will take place from 28 July to 13 August 2022 in Australia. We’ve been supporters of the fest since their debut in 2018, and it’s been amazing to watch this grow into one of the leading Asian film festivals in Australia.

Korea Film Festival in Australia

TBA

It’s hard to believe we’re already up to the 13th edition of KOFFIA, a festival we’ve watched grow and become national in that time. (Full disclosure: when the festival began, we were both media partners and briefly served as a Marketing Assistant but are now just massive fans of the enterprise). Expect the latest blockbusters to period dramas as one of the staples of the annual calendar returns.

Busan International Film Festival

5-14 October

From the New Currents Award to the FIPRESCI Award, BIFF has spent over a quarter of a century establishing itself as one of the most prestigious collection of films from across Asia and around the world. Even if you can’t make it there, it’s always worth keeping an eye on what’s happening at this South Korean monolith.

OzAsia Festival

TBA – October-November

Far more than just film, Adelaide’s OzAsia Festival showcases the best theatre, dance, music, visual arts, literature, film, food and cultural events from across Asia. Even in a difficult year like 2021, they still managed to attract over 180,000 visitors. Hit up their website to find out what’s happening this year.

Tokyo International Film Festival

24 October – 2 November

The ‘other TIFF’ is, of course, the Tokyo International Film Festival. Now in its 35th year, TIFF is a premiere showcase for not just Japanese films, but cinema from around the world. Learning from the pivoting it has done during the pandemic so far, we’re keen to see what they have in store this year. TIFF will also continue deepening its ties with Tokyo FILMeX in 2022.

Japanese Film Festival Australia

TBA October – December

There is no better way to round out the year than with one of the best Japanese Film Festivals in the world. Now over a quarter of a century into its historic run, it’s one of the oldest country-specific festivals in Australia. Presented by the excellent people at the Japan Foundation, what began as a small event has now expanded into a nationwide festival that typically spans dozens of films around all of the capital cities. Look out for the JFF Online and other mid-year events as well.

January 29, 2022
Review: Not Quite Dead Yet

Afterlife comedies are a dime a dozen, with popular films like Koki Mitani’s A Ghost of a Chance always being mainstays at the box office. Still, NOT QUITE DEAD YET (一度死んでみた) has unquestionably found a new spin on the genre that refuses to die.

The debut feature film of Shinji Hamasaki, who was primarily known for his commercial television work, it comes with a script from Yoshimitsu Sawamoto, who was behind Shochiku comedies Judge! and 10 Promises to My Dog. It follows Nanase Nobata (Suzu Hirose), a university student and death metal singer who has a difficult relationship with her father Kei (Shinichi Tsutsumi).

Kei is the head of a major pharmaceutical company, and has controlled everything in his life — including Nanase — within an inch of its life. Trying to figure out who is rorting the company, he takes an experimental drug that kills him for two days. As the powers working against him latch onto his scheme, he returns as a ghost that only Nanase can see. She teams up with loyal employee Taku Matsuoka (Ryo Yoshizawa) to expose the crooks and ensure her dad’s resurrection goes to plan.

NOT QUITE DEAD YET is a silly film. The broad comedy stylings certainly won’t appeal to all audiences, as there is nary a trace of sophistication to Sawamoto’s script. Still, there’s a joyful exuberance to it, a film that’s just as comfortable with recurring gags about Kei’s smell as they are with very specific Tokyo references. (There’s also a musical reference to the Swayze starring Ghost that made me smile). After a while, chances are you’ll find yourself just going with it.

It’s also great to see Suzu Hirose in a lead role. Following her early work in Hirokazu Koreeda’s Our Little Sister, and her lead in the fan-favourite Chihayafuru franchise, here she adopts a light metal persona. There’s an emphasis on goofy, right down to the exaggerated responses. The repeated metal song of ‘death death death death’ is surprisingly catchy.

It’s a nice contrast with the restrained Yoshizawa, who is so unassuming that people often just don’t see him. Rounding out the cast is a bit of a who’s who of Japanese character actors, especially as Hamasaki builds to the concert/funeral climax. Rurouni Kenshin’s Takeru Satoh turns up as a hotel employee, Kakegurui’s Elaiza Ikeda has a small role, as do Jun Shishon (The Night Beyond the Tricornered Window), Tae Kimura and Satoshi Tsumabuki. You don’t often get to say this about the ubiquitous Lily Franky, but he’s criminally underused as the Grim Reaper.

In a year of Japanese films that have tackled some weighty subjects while dealing with current events, this simple father-daughter comedy comes as a breath of fresh air. It’s all much ado about nothing, but if you’re looking for some simple escapism this might just be your ticket.

2020 | Japan | DIRECTOR: Shinji Hamasaki | WRITER: Yoshimitsu Sawamoto | CAST: Suzu Hirose, Shinichi Tsutsumi, Lily Franky, Ryo Yoshizawa | DISTRIBUTOR: Shochiku, Japanese Film Festival | RUNNING TIME: 93 minutes | RELEASE DATE: 28 October – 5 December 2021 (JFF)

November 26, 2021
JFF 2021: Japanese Film Festival programmer interview

As Australian cinemas open back up, it’s festival season again — and not a moment too soon. The Japanese Film Festival is back for a historic 25th year, running around the country from from 28 October to 5 December.

In addition to the 11 must-see films we’ve already told you about, there’s also a few dozen of the hottest releases from the last 12 months. Having covered a number of these for various international festivals, we can say with certainty that this is one of the strongest collections in recent memory.

So, we had a chat with festival programmer Manisay Oudomvilay, who shared their insights on the JFF 2021 selections, personal favourites and the future of online festivals.

The 2020 Japanese Film Festival ran as an online event. Was it important to you to bring JFF back to in-person screenings this year?

Yes, definitely! We’re incredibly excited to bring the Japanese Film Festival back to cinemas after two years. Even before the pandemic foreign films have been quite hard to access in cinemas, so bringing that in-theatre experience back for fans of Japanese film has always been important to us.

In my opinion, there’s something special about watching films in cinemas that can’t be replicated at home. Being able to laugh and cry alongside fellow audience members adds to the fun, and that shared experience is just one part of what makes going to the movies so enjoyable.

Of course, that doesn’t mean we’ve forgotten about JFF Online! Thanks to the enormous success of last year’s program, we’ve decided to continue the program and will be holding JFF Online from 15-21 November 2021. During that week, a selection of five free films will be available online for anyone in Australia to enjoy.

What can people expect at this year’s JFF?

This year the theme of our program is ‘Dreaming beyond Limitations’. From overcoming loss to breaking free from society’s expectations, many of the films celebrate characters who stay resilient in the face of adversity. One example of this is our opening film, Hokusai. The film is a biopic that details the life of legendary Japanese painter Katsushika Hokusai, and it portrays the challenges he faced as an artist during his lifetime.

The JFF 2021 program is one of our most diverse selections yet, with genres ranging from action thrillers and drama to anime, romantic comedies and documentaries. Alongside this we’re also running our Special Series of classic films by Shūji Terayama, plus JFF Online and the JFF Satellite program, which tours regional centres across Australia. The program this year is jam-packed and there’s sure to be something everyone will enjoy!

Some of the films, like Junta Yamaguchi’s Beyond the Infinite Two Minutes, take innovative approaches to COVID-19 restrictions. What other ways has the pandemic influenced the festival content?

Last year the pandemic had a huge impact on the film industry and Japan was no exception. Many of the films featured in this year’s program were shot prior to the pandemic, with production being put on hold partway through filming. As a result, many new titles that came out last year had their release dates delayed.

As you mentioned, some filmmakers also had to get creative in the way they approached production once COVID-19 hit. Despite being made with a low budget under strict protocols, the creators of Beyond the Infinite Two Minutes made it work through the use of clever film techniques and a limited number of filming locations.

Wheel of Fortune and Fantasy is another title that was impacted by restrictions introduced during COVID-19. Directed by Ryūsuke Hamaguchi, this film consists of three stories, the last of which was shot during the pandemic. Interestingly, the creators decided to work the storyline around lockdowns happening in Tokyo at the time. The story is set in the future and features scenes of streets and train stations, without a single soul in sight. In future years, it’s likely that we’ll see more of these creative workarounds as filmmakers adapt to COVID-19 restrictions.

A stream in this year’s program is female directors, something JFF has always promoted, including the always wonderful Naomi Kawase. Along with Miwa Nishikawa and Akiko Ōku, they are presenting three very different films. What trends do you see emerging in this strand?

This year, we’re excited to show three films that have female directors — True Mothers, Under the Open Sky and Hold Me Back. They’re all very unique stories, but a common thread these films share is the fact that they shine a light on those who are most overlooked by society.

First we have True Mothers, a sensitive portrayal of motherhood by award-winning director Naomi Kawase. This film is the story of two mothers who take very different paths in life, and have totally different experiences of motherhood. For one woman motherhood comes as a long-awaited blessing, but for the other it completely upends her life and turns her into an outcast.

In Under the Open Sky, Miwa Nishikawa paints a hardened ex-yakuza who struggles to adjust to society after being imprisoned for thirteen years. The main character, Mikami, is incredibly flawed — his brash attitude and altercations with the outside world lands him in hot water many times throughout the film. However, Nishikawa’s nuanced portrayal of his character growth throughout the film eventually has audiences rooting for him in the end.

Finally, Akiko Ōku has taken a refreshing approach to modern romance by focusing on the female perspective in Hold Me Back. Mitsuko is a 31-year-old woman who has always embraced being single. But when she becomes attracted to a younger salesman, it sets off an internal battle between the comfort of single life and her desire for a romantic relationship. Unlike many romance films, Ōku’s take on the genre is extremely realistic and one that is rarely represented in media. She portrays the ups and downs of romance in a modern context, expertly conveying Mitsuko’s inner turmoil as she navigates her dating life.

In all three films, the directors have shown the perspectives of characters who are rarely focused on not only in film, but in society as a whole. They also portray very real social issues and encourage audiences to question the status quo. We can’t wait to see more of their work in the future!

One of the great additions to the program this year is a focus on the polymathic Shūji Terayama. What do you hope people discover from his work?

This year our Special Series program focuses on the works of Shūji Terayama (1935-1983), one of Japan’s most influential avant-garde directors. From the mid 1960s to the early 1970s, Angura (underground) theatre became prominent in Japan as an anti-establishment movement and Terayama was at the forefront of this experimental scene. From dismantling concepts of time, history and myth to daring portrayals of sexual and political revolution, Terayama’s works are unexpectedly beautiful and discomforting.

Through Terayama’s works, we hope that people will be able to discover and appreciate an extremely important and influential part of Japanese filmmaking. His films were groundbreaking both in terms of their themes, as well as the innovative cinematic techniques used. To this day, Terayama’s artistic legacy lives on, as his works continue to inspire people to embrace unconventional ways of thinking.

The films that are being screened are also original 35mm and 16mm prints, so our Special Series program presents a rare opportunity to watch the films as they were originally intended to be viewed.

There’s two excellent standalone sequels this year: Last of the Wolves and The Fable: The Killer Who Doesn’t Kill. What is it about these films that resonate with audiences?

Gangster and yakuza films are always a hit with audiences at JFF, so we’re incredibly excited to include these films in the programthis year! The lasting impact of films like The Godfather proves that it’s a universally well-loved genre, and personally I think it’s because there’s something about an anti-hero that’s especially appealing to viewers.

For example, in The Fable: The Killer Who Doesn’t Kill the main character is flawed but has good intentions. In this sequel, the protagonist Fable is an ex-assassin, who leaves behind his past life to live an ‘ordinary life’ under the pseudonym Akira Satо̄. However, it’s not long before the mythical hitman is drawn back to the underworld when his past crimes come back to haunt him.

These stories where the lines between good and evil are blurred allow for interesting storylines, with plenty of potential for character development. Of course, it also helps that both Last of the Wolves and Fable have intriguing plots that are capable of standing on their own. The creators have done a great job of world building within these franchises, so it’s no wonder that audiences keep coming back for more!

What are you personally most excited about out of this year’s program?

One of my highlights from JFF 2021 is Sumodo ~ The Successors of Samurai ~. Directed by Eiji Sakata, this film is a documentary that gives viewers a rare glimpse into the world of professional sumo wrestlers in modern Japan. Filmed over the course of six months, Sumodo follows the lives of two wrestlers, Gōeidō Gōtarō and Ryūden Gōshi, as they prepare to battle it out on the legendary stage of Ryōgoku Kokugikan.

Many people don’t realise the sheer amount of physical and mental strength it takes to become a sumo wrestler, but Sakata has done an amazing job of conveying how dedicated these sumo wrestlers are to their roles. It was also enjoyable to learn more about the personalities of the sumo wrestlers who are featured, as that side of them is rarely shown to the public.

Another film that I’m excited about is The Deer King, an anime directed by Masashi Andō and Masayuki Miyaji. Created by Production I.G, the film tells the epic fantasy story of a world that has fallen prey to the deadly Black Wolf disease. Only a few have managed to outlive the disease; former soldier Van, who is the sole survivor of his clan, and a little girl called Yuna.

The film is packed with stunning visuals, and has an engrossing storyline that will have you hooked until the very end. In a way, the film also reminded me of Princess Mononoke as it deals with adult themes such violence and death, despite being an anime. It’s likely that influence also comes from one of the directors, Masashi Andō, who has worked on character design for Studio Ghibli in the past.

So, is the genie out of the bottle: are hybrid (online/in-person) festivals here to stay? Do you see benefits in continuing an online aspect in 2022 and beyond?

Of course, the physical component of JFF will always be the mainstay of the festival. But after seeing the huge success of JFF Online, I definitely believe that online programs have a place alongside in-person film festivals in future years.

There’s a huge demand for more titles to be made available online — after all, it’s a safe and convenient way for audiences to watch their favourite films. Streaming films online also makes them more accessible, and a huge benefit of JFF Online has been that audiences from all over Australia could access our films, even if they’re not close to a city centre.

JAPANESE FILM FESTIVAL AUSTRALIA runs from 28 October to 5 December 2021 in. You can check out our entire coverage — including our list of must-see films — and previous years, at our JFF hub. Read more coverage of Japanese films from the silent era to festivals and other contemporary releases. Plus go beyond Japan with more film from Asia in Focus.

October 26, 2021
JFF 2021: 11 must-see films at the Japanese Film Festival

One of the highlights of the Australian film festival calendar is the Japanese Film Festival. Back for a historic 25th year, it’s running around the country from from 28 October to 5 December.

As previously announced, JFF will bring us a few dozen of the hottest releases from the last 12 months. From the award-winning Ryusuke Hamaguchi and Naomi Kawase, there’s also sequels, manga adaptations, anime, some restored classics and a loving tribute to Satoshi Kon.

While everything on the program is worth watching, here’s some we reckon that you shouldn’t miss.

Wheel of Fortune and Fantasy

It’s a massive year for Ryusuke Hamaguchi. The three-hour Drive My Car debuted at Cannes this year, and in this film he trades longer forms for short stories in this Silver Bear winning anthology built around choices not made and lives unlived. From the 5-hour Happy Hour (2016) to the more compact Asako I & II (2018), his films often take a holistic view of intersecting human lives. This is no exception. Read our full review.

It’s A Summer Film

A genuinely heartfelt love-letter to film, or at the very least it’s a push against the idea that movies are disappearing. Soshi Matsumoto’s feature debut, following a career in commercial and short work, it’s a sci-fi film of sorts that sees a group of school friends attempting to make a samurai film, but discover one of their number is a time traveller from the future. IT’S A SUMMER FILM is exactly what it says: a film about the joys of summer in all their fleeting and life-changing moments. Read our full review.

Satoshi Kon: The Illusionist

When filmmaker Satoshi Kon died in 2010 following a brief battle with pancreatic cancer, he was 46. In his all-too-brief time on Earth, he left us with some of the most revered animated films of the last few decades: Perfect Blue (1997), Millennium Actress (2001), Tokyo Godfathers (2003), and Paprika (2006). Both a summary of an impressive career and a tribute to one of the driving forces of animation over the last few decades, French documentarian Pascal-Alex Vincent paints a portrait of someone who demanded high standards from others, and even higher from himself. Read our full review.

The Fable: The Killer Who Doesn’t Kill

One of those rare instances where the sequel outdoes the original. A standalone sequel that doesn’t require knowledge of the first one, it scarcely mattered that it’s been a couple of years since I’d watched the predecessor and completely forgotten the ending. This time, all the pieces come together quite nicely, and there are at least two large scale set-pieces that are world class. Strong hints at a third outing, so hop aboard the Fable train now. Read our longer review.

Last of the Wolves

The follow-up to The Blood of Wolves, a film that never really got past its stylistic excess. Which is where this sequel tops it in every way. Yes, there’s still a fair bit of blood, but there’s also a wicked driving narrative in this clash of wills. Ryôhei Suzuki adds a dangerous element that genuinely keeps us guessing, and it all comes to a satisfying conclusion in the vein of Infernal Affairs or the Outrage series. Or leaves the door open for even more explorations of this old-school battle without honour or humanity. Read our even more exciting full review.

Beyond The Infinite Two Minutes

If the time loop film is rapidly becoming our favourite sub-genre, then this one-take time loop screenlife film should be our next sub-sub-genre obsession. In the film, Kato (Kazunari Tosa) owns a small cafe where he discovers that his computer screen and TV are windows to a version of himself two minutes into the future. Only clocking in at 70 minutes, it all culminates in a genuinely clever denouement, where the ‘bad guys’ are ultimately overcome through a combination of foresight and comical use of the Droste screens. Read our full review.

Tokyo Revengers

Based on the ongoing manga series, here’s a time travelling high school tale with a bit of a difference. While compressing a lot of story into a short space — a story that is still ongoing in print and anime form — TOKYO REVENGERS still managers to convey its complex tale in a a self-contained package. Indeed, if this is your first experience with the franchise, you might even be tempted to explore the world a little further. Read our full review.

The Deer King

Co-directed by Masashi Ando (who worked on Studio Gibli films like Spirited Away and Princess Mononoke) and Masayuki Miyaji (Attack on Titan), this adaptation of Nahoko Uehashi’s novel series Shika no Ō is from the legendary Production I.G. A must-see for animation fans everywhere.

True Mothers

Fresh from shooting the official film of the Tokyo 2020 Olympics, modern master Naomi Kawase takes a measured approach to delivers another delicate character piece, filled with trademark beauty and lingering resonance. At its most basic level, Kawase’s and Izumi Takahashi’s script – based on a novel by Mizuki Tsujimura – concerns Satoko (Hiromi Nagasaku) and her husband Kiyokazu (Arata Iura) deciding to adopt a baby. Years later, Hikari (Aju Makita) comes forward as the child’s birth mother. Read our full review.

Under the Open Sky

As a character study, Miwa Nishikawa’s drama works incredibly well. Koji Yakusho once again finds himself on the wrong side of the law in this exploration of institutionalisation resulting from long-term imprisonment. He’s excellent in the role, bringing a world weariness and hair-trigger anger that never feels anything less than genuine.

Throw Away Your Books, Rally in the Streets

Playing as part of the Shuji Terayama retrospective, this is arguably one of his best known works, a radical anti-establishment piece that still stands as one of the greats of Japanese cinema history. It plays alongside Pastoral Hide-and-Seek (1974), the erotic art house The Fruits of Passion (1974), and his Oedipal and sensual Grass Labyrinth (1979).

The complete Japanese FIlm Festival program, dates and tickets are now available on their website.

JAPANESE FILM FESTIVAL AUSTRALIA runs from 28 October to 5 December 2021 in. You can check out our entire coverage, and previous years, at our JFF hub. Read more coverage of Japanese films from the silent era to festivals and other contemporary releases. Plus go beyond Japan with more film from Asia in Focus.

October 13, 2021
JFF 2021: Japanese Film Festival Australia announces program

The Japanese Film Festival (JFF) in Australia is back for a 25th anniversary edition, running around the country from from 28 October to 5 December.

The program, now available online at the official festival site, is filled with festival favourites and award-winners from 2021, as well as contemporary discoveries, a classics program and an online selection.

HOKUSAI is the opening night film in all cities. Hajime Hashimoto’s biopic of what is arguably Japan’s most famous artist, played by Yūya Yagira (Nobody Knows). With a star-studded cast, be sure to catch the ukiyo-e work on the biggest canvas you’re likely to see them on.

Festival favourites

Leading the pack is a selection of festival winners, including Ryūsuke Hamaguchi’s WHEEL OF FORTUNE AND FANTASY (偶然と想像). Premiering at the Berlinale this year, we saw Hamaguchi trade his typically longer forms for short stories in this Silver Bear winning anthology built around choices not made. If his previous films were about lives lived in their totalities, then this one is about the ones that never got to be. Indeed, the film’s Japanese title translates to something like ‘imagine by chance.’

It sits alongside Naomi Kawase’s TRUE MOTHERS (朝が来る), a film we called a “delicate character piece, filled with trademark beauty and lingering resonance” when it was released in the US back in January. In UNDER THE OPEN SKY (すばらしき世界), the excellent Koji Yakusho once again finds himself on the wrong side of the law in this exploration of institutionalisation resulting from long-term imprisonment. It’s a terrific character study.

Festival favourite HOLD ME BACK (私をくいとめて), along with True Mothers and Miwa Nishikawa’s Under an Open Sky, also heads up the strong collection of films directed by women. Sōshi Matsumoto IT’S A SUMMER FILM (サマーフィルムにのって) is also wonderful: a time-travel coming of age film, it’s a genuinely heartfelt love-letter to film, or at the very least it’s a push against the idea that they are disappearing.

BEYOND THE INFIITE TWO MINUTES (ドロステのはてで僕ら) was another one we discovered at Fantasia this year. Kato (Kazunari Tosa) owns a small cafe where he discovers that his computer screen and TV are windows to a version of himself two minutes into the future. If the time loop film is rapidly becoming our favourite sub-genre, then this one-take time loop screenlife film should be our next sub-sub-genre obsession.

Gangsters who don’t kill (and some who do)

Under the Open Sky is accompanied by two outstanding sequels in a section JFF is calling ‘Gangsters and Outliers.’ LAST OF THE WOLVES (孤狼の血 Level 2), the follow-up to The Blood of the Wolves takes everything up a notch, with a more sophisticated story and a compelling central rivalry.

Similarly, THE FABLE: THE KILLER WHO DOESNT’ KILL (ザ・ファブル　殺さない殺し屋) is of those rare instances where the sequel outdoes the original. All the esoteric elements come together nicely, with some large scale set-pieces that are world class.

Manga on screen

LIARxLIAR (ライアー×ライアー) leads the manga adaptations section, bringing shōjo manga series by Renjūrō Kindaichi to life in a story of a bizarre love triangle. TOKYO REVENGERS (東京リベンジャーズ) was one we caught at Fantasia this year, and it’s a time travelling high school tale with a bit of a difference. After all, Tsutomu Hanabusa (Tori Girl, Kakegurui, Project Dream: How to Build Mazinger Z’s Hangar) is a dab hand at bringing manga to life on screen.

The wonderfully titled THE CORNERED MOUSE DREAMS OF CHEESE (窮鼠はチーズの夢を見る) is a completed different side of manga. Based on the manga by Setona Mizushiro (which Keiko Takemiya, a professor Kyoto Seika University, called one of the BL genre, the live action film comes from director Isao Yukisada, who directed River’s Edge a few years back.

For something a little spookier, there’s THE NIGHT BEYOND THE TRICORNERED WINDOW (さんかく窓の外側は夜), an adaptation of Tomoko Yamashita’s yaoi manga of exorcism and necromancy. Sounds like a fun night out.

Getting animated

It wouldn’t be a JFF without some anime. There are three special screenings of anime films at this year’s festival. POUPELLE OF CHIMNEY TOWN (映画えんとつ町のプペル), based on on the 2016 children’s picture book by Akihiro Nishino, it’s a high-concept fantasy that’s all momentum will undoubtedly appeal to the younger members of the audience.

Co-directed by Masashi Ando (who worked on Studio Gibli films like Spirited Away and Princess Mononoke) and Masayuki Miyaji (Attack on Titan), THE DEER KING (鹿の王) is an adaptation of Nahoko Uehashi’s novel series Shika no Ō. Plus, it comes from the legendary Production I.G. A must-see for animation fans everywhere.

Last but not least is SATOSHI KON: THE ILLUSIONIST, both a summary of an impressive career and a tribute to one of the driving forces of animation over the last few decades: Perfect Blue (1997), Millennium Actress (2001), Tokyo Godfathers (2003), and Paprika (2006).

Shuji Terayama in Focus

A filmmaker, an avant garde poet and photographer, Tereyama was lost to the world when he died in 1983 at the age of 47. Working right up to his death, the leading light of the Japanese New Wave gets a sharp focus at JFF with four of his film.

THROW AWAY YOUR BOOKS, RALLY IN THE STREETS (1971) is arguably one of his best known works, a radical anti-establishment piece that still stands as one of the greats of Japanese cinema history. Also included in the classics collection Tereyama’s quest for self discovery in PASTORAL HIDE-AND-SEEK (1974), the erotic art house THE FRUITS OF PASSION (1974), and his Oedipal and sensual GRASS LABYRINTH (1979).

Cinephilia and beyond

Naomi Kawase isn’t the only favourite of cinephiles on the list this year. Self-taught animator Takahide Hori reportedly spent seven years bringing the theatrical cut of his dystopian JUNK HEAD (ジャンク・ヘッド) to international screens. With an aesthetic that sits at the exact intersection of Despicable Me and a Tool music video, the painstaking level of detail found in every frame of this film is nothing short of phenomenal.

Other films include STEP, Shinji Hamasaki’s comedy NOT QUITE DEAD, obligatory food film MIO’S COOKBOOK, mystery thriller AI AMOK, medical drama MASKED WARD, and Eiji Sakata’s documentary SUMODO: THE SUCCESSORS OF SAMURAI.

The complete Japanese FIlm Festival program, dates and tickets are now available on their website.

JAPANESE FILM FESTIVAL AUSTRALIA runs from 28 October to 5 December 2021 in. You can check out our entire coverage, and previous years, at our JFF hub. Read more coverage of Japanese films from the silent era to festivals and other contemporary releases. Plus go beyond Japan with more film from Asia in Focus.

September 16, 2021
JFF 2021: Save the dates – the Japanese Film Festival returns across Australia

Can you believe that the 25th Japanese Film Festival in Australia is almost upon us? Back in cinemas for the first time in two years, the JFF has announced its dates for 2021. 楽しみです!

This year the festival will be held from 28 October to 5 December, in Canberra (28 October – 5 November), Perth (4 – 7 Novembver), Brisbane (11 – 21 November), Melbourne (18 November – 5 December) and Sydney (25 November – 5 December).

No films have been announced yet, but expect a full program announcement on 16 September 2021.

In the meantime, we’ll look forward to covering Japanese cinema regularly at MIFF, SFF, NYAFF and JAPAN CUTS. Madman is also celebrating the 20th anniversary of Studio Ghibli‘s Spirited Away, playing in select cinemas around the country from 22 July (except for Sydney, which is still under lockdown until at least 30 July).

Keep up to date on the official festival website and come back her for our full festival coverage.

July 17, 2021
JFF 2020: highlights from the online Japanese Film Festival

A difficult year is almost over, but we can’t say goodbye without the Japanese Film Festival. JFF Plus Online runs from now until 13 December across Australia and New Zealand’s interwebs.

In a year of cinematic cancellations and pandemic production problems, it’s been comforting to have so many festivals step up to keep us indoors and entertained. JFF has been a staple in Australia for decades, so they weren’t going to let us go without some new and classic material.

As previously announced, a collection of over 30 new, contemporary favourites, short animations and classic cinema pepper the week-long online festival, one that’s making its way around the world between November and March next year.

To enjoy the movies, simply go to watch.jff.jpf.go.jp, sign up for free and watch as many films as you can consume in a week. Here’s a few that we recommend!

Project Dreams – How to Build Mazinger Z’s Hangar (2020)

Mazinger Z is one of the more recognisable anime robots in Japan, and this might just be the most novel spin on the influential 1970s cartoon. Probably the first film based on the Venn intersection of anime and a real life research paper, Tsutomu Hanabusa presents a fantasy adaptation of the techniques involved in building the famous underwater hangar in the real world. Plus: if there’s one thing we love, it’s a Japanese film with an incredibly long title.

Our 30-Minute Sessions (2020)

Films like Solanin and Little Nights, Little Love are among my favourite slice-of-life/band-related Japanese films. It’s a very specific sub-genre, but I’ve got a type, okay? Backed by a terrific soundtrack and an engaging high concept, I was enchanted and toe-tappy. Next stop: Ringo Fes. 2021!

Dance with Me (2019)

Well, I had a ball with this at the Japanese Film Festival last year. It’s a crazy blend of musical, road trip and social satire with a light (but effective) touch. Shizuka Suzuki (Ayaka Miyoshi) works for a large company in which Murakami-san (Takahiro Miura) is adored by all the administrative staff. After a chance encounter with a hypnotist (the legendary Akira Takarada), she becomes compelled to dance whenever she hears music. Ayaka Miyoshi is wonderful and Yuu Yashiro is like Japanese version of peak Melissa McCarthy.

Read full review

Little Nights, Little Love (2019)

Speaking of which, this was one of my favourite films from last year’s festival. A multi-layered narrative (based on the collected short stories “Eine Kleine Nachtmusik” by Kotaro Isaka) that ponders big questions with little stories is an absolute delight – and has a catchy theme song too! It’s backed by delightful performances from Mikako Tabe, Haruma Miura and Erika Mori in particular.

Read full review

Tremble All You Want (2017)

Director Akiko Ohku continues to make a name for herself, more recently with My Sweet Grappa Memories. Audience Award-winner at the last Tokyo International Film Festival, this adaptation of Risa Wataya’s novel stars Mayu Matsuoka (Chihayafuru, Blank 13) as Chi, a young woman who spends all day looking up extinct species on Wikipedia. At least until colleague Ni (Daichi Watanabe, Asako I & II) confesses his feelings for her.

Peace (2010)

The films of Kasuhiro Soda, like the terrific Oyster Factory or Inland Sea, are always the most gentle and observational of documentaries. He also loves cats. This personal story focuses on Soda’s father-in-law Kashiwagi Toshio, a driver for the elderly and disabled in Okayama City. His mother-in-law Hiroko runs a non-profit organization, and their garden is full of stray cats. This is peak Soda.

Railways (2010)

There will always be a special one for us. Back at the 15^th JFF in 2011, where we somehow reviewed a staggering 28 films in the real world, Yoshinari Nishikôri’s film was one of the films that reaffirmed everything that I love about Japanese cinema. A more leisurely paced film about a Japanese salaryman who decides to go for his lifelong dream of becoming a railway driver. Given the reputation for punctuality in Japanese trains, this doesn’t sound like an easy job. Cue the words ‘heart-warming.’

Short animation

A wonderful collection of short films and features including Takeshi Yashiro’s stop-motion animations, a series of Production I.G shorts such as Li’l Spider Girl, and the 2007 Christmas-themed Tokyo Marble Chocolate. ‘Tis the season, after all!

The Flavour of Green Tea Over Rice (1952)

So, when you are given the opportunity to see master Yasujiro Ozu’s films, the answer is always yes. This domestic comedy by Ozu is about a couple having marital difficulties, and their niece who uses her aunt and uncle’s troubles as her excuse for not attending arranged marriage interviews.

You can also see more at the classics program lined up for you in Canberra, Sydney and Brisbane cinemas (yes, physical ones!) throughout December and beyond, including Japanese New Wave essentials Diary of a Shinjuku Thief (1969), Eros + Massacre (1970) and early LGBTQI+ film Funeral Parade of Roses (1969). Plus Nobuhiko Ōbayashi’s crowd-pleasing weirdness in House (1977) and his earlier short film Emotion: The Dracula We Once Knew (1967). Check out their website for more details.

December 5, 2020
JFF 2020: Japanese Film Festival returns, adds Satellite program

It’s festival season but not as we know it. So many film fests have gone online this year, and the Japanese Film Festival is no exception.

JFF 2020 has announced that they’ve joined the socially necessary streaming trend, but has also indicated that there’s still a chance for physical screenings.

Beyond the major cities, the rebranded JFF Satellite (formerly JFF Regional) will launch the travelling film festival. The first stop is Bunbury, WA where Reverse Dairies, Penguin Highway and Shoplifters will screen on 4, 5 and 12 September.

According to a newsletter issued today, “We will continue to bring a selection of hand-picked Japanese films for free screenings across Australia with the support of our local collaborators. Physical screenings will be held in 2020 following local COVID-19 guidelines.

The main program has yet to be announced, of course, but if history is any guide, there might be some crossover with JAPAN CUTS, the festival run by the Japan Society in New York.

The news follows the Korean Film Festival in Australia (KOFFIA) announcing that they are postponing their traditional August slot in the hopes of running a physical festival later this year.

As one of our favourite festivals on the calendar, we can’t wait to see what the JFF has in store for us this year.

Read more coverage of Japanese films from the silent era to festivals and other contemporary releases. Plus go beyond Japan with more film from Asia in Focus.

August 4, 2020
Japanese Film Festival 2019: Reflections
At the end of the decade, the Japanese Film Festival showcases films of all sizes that pave the way to the future.

As we just about wrap up another ten years of Japanese cinema, the 23rd Japanese Film Festival in Australia marks a resurgence in international recognition of Japan’s idiosyncratic charms.

After all, it’s a period where Hirokazu Kore-eda’s Shoplifters (2018) saw the first Japanese Palme d’Or winner since Shohei Imamura’s The Eel (1997), while Makoto Shinkai‘s Your Name (2016) crossed demographic boundaries.

Looking back to JFF 2010 – which saw a reported 7,700 people and sold out sessions such as Hanamizuki, Confessions (now a cult favourite) and The Summit – the decade promised a smorgasbord of film discovery. Writing for METRO Magazine the following year about the 2011 festival (in a piece called ‘Laughter on the Road to Recovery’), I noted the festival’s numerous comedies could be “seen as part of the international healing process in the wake of the devastating March 2011 Tohoku earthquake and tsunami.” Over the course of the following eight years, Japanese cinema became a little more noticeably inward looking.

Think local, act local

So, the final Japanese Film Festival of the 2010s followed this broader trend in Japanese cinema, something James Hadfield of The Japan Times has termed “closed country cinema.” It has become more common to adapt existing TV or manga properties, ones that may not translate outside of the confines of FujiTV, TBS or the billboards of Akihabara and Ikebukuro.

Case in point this year were adaptations of Kakegurui, Masquerade Hotel, and the pseudo-commercial Brave Father Online – Our Story of Final Fantasy XIV. Kakegurui, for example, has already proven itself in the Japanese marketplace (and abroad) as a manga, anime series and live-action drama series, so the film does an excellent job “recreating reactions and textual styles that should really only work on page or in animation.” Masquerade Hotel is based on a successful series of Japanese novels, while Final Fantasy has been running as a video game series since 1987.

Yet there are those films that take a distinctly introspective approach as well. NOISE (ノイズ) flips the script on the tourist centre of Akihabara, with debut director Yusaku Matsumoto showcasing a darker side of electric town as she explores three youths trying to get by several years after the Akihabara Massacre in 2008.

Fly Me to the Saitama, based on Mineo Maya’s manga, is “the most Japanese of Japanese films” due to the sheer number of in-jokes and cultural references, the people who will get the most out of this will unquestionably be locals or people who spend a lot of time in Tokyo. Or maybe those of us who just happen to love its cinema.

Little love songs

‘Little’ and ‘love’ were key words for several films screening this year. In fact, at least two of them had the word in the title!

Little Nights, Little Love and Just Only Love were two films on offer from rising star indie filmmaker Rikiya Imaizumi, both of which deal with love and city life in an understated way. Little Nights, Little Love has a petit hyperlinked narrative that explodes the idea of relying on giant signs to change your life, focusing instead on the casual interactions between people. Or as one character aptly puts it, “Don’t diss the cogs.” Similarly, Shô Miyake’s And Your Bird Can Sing doesn’t so much concentrate on an overarching narrative so much as depicting floating lives as they intersect and interact in this contemporary adaptation of a modern classic novel.

The other ‘little’ film is Kojiro Hashimoto’s Little Love Song, a conscious assault on the tear ducts manages to endear through an enthusiastic cast and a catchy set of soft rock songs. It’s also set against the backdrop of a US Army Base, continuing the theme of very regional Japan-specific issues. Other musicals JK Rock and Dance With Me are less overtly political, alternatively telling the fictional origins of a real band that formed out of a fake one (got it?) and charming our pants off with their old school dance numbers.

Not all of the indie films were as crowd-pleasing, and two films in particular consciously challenged audiences. Melancholic is a strong debut from Seiji Tanaka, shot on a cobbled-together ¥3 million (or less than US$28,000) and managing to surprise us across multiple twists that push our notions of morality. Yet it’s Shinzo Katayama’s Siblings of the Cape that might be too uncomfortable for many viewers, dealing as it does with a woman with an intellectual disability being repeatedly pimped out by her brother. Conversations I’ve had around this have been divisive.

From love to friendship, Rent A Friend deals with the (very real) premise of rentable friends in Japan and sets this quirky romantic drama off on the right foot, yet even the short runtime can’t save this from getting back onto the rom-com rails very quickly. SAINT☆YOUNG MEN 2nd Century shows the ultimate friendship: Jesus and Buddha. Continuing the adventures of the divine duo (played by Kenichi Matsuyama and Shota Sometani) living in modern day Tokyo, including a pilgrimage to Akihabara and an extension of the low-fi two-hander in a small room we’ve seen in their previous work.

Kingdom of hits

At the other end of the scale Kingdom (another manga adaptation) played as a big-scale action-adventure that is being programmed for broader appeal. In fact, Funimation are planning a summer 2020 screening in North America, and it’s not hard to imagine that there’s a market for a film from the director of Gantz, Bleach and Inuyashiki.

Samurai Shifters is a deceptively large film, filled with a stellar cast and some meticulous production design to make this semi-comedic adaptation of Akihiro Dobashi’s novel better than the average bear.

Meanwhile, with Ride Your Wave, director Masaaki Yuasa (Lu Over the Wall, Devilman Crybaby, and the sublime Night is Short, Walk on Girl ) makes a (mostly) grounded romantic comedy. What’s even more surprising is just how well it works, and I don’t mind saying I had a lump in my throat for much of it.

Still on animation, Detective Conan: The Fist of Blue Sapphire is the twenty-third (!) film released in the long-running anime and film series based on the Case Closed manga. One tends to feel that if you’re invested at this point, you’re unlikely to quibble much now.
Favourites

So, if I had to whittle down all these films to a personal Top 5, I’d probably tell you to go look at my Letterboxd account. Failing that, here’s a list in some kind of order:

Little Nights, Little Love
Ride Your Wave
Dance With Me
Born Bone Born
Melancholic

An honourable mention is A Banana? At This Time of Night?, a film title I’ve been obsessed with ever since I saw the poster on AsianWiki in October last year. Yuko Hakota’s debut film Blue Hour heralds the arrival of a strong new voice on the scene in a story that looks at whether you truly can go back home.
A pathway to the future

With social media and think pieces constantly telling us about the blockbuster incursion, the Japanese Film Festival is a timely reminder that there are plenty of opportunities to see Asian indie cinema if you go looking for it. Indeed, the major cities have a new release film playing almost every week.

At 30 films, the JFF is a fair distance from the 3 free films it screened back in the mid-1990s. Yet even this expanded roster can’t cover everything. There are a few choices – including Mika Ninagawa No Longer Human and Makoto Nagahisa’s We Are Little Zombies (which played at MIFF) – that I would have loved to see get a local release.

Nevertheless, there are so many new favourites were found this year. Throughout 2019, The Reel Bits has covered several festivals – from the local Sydney Film Festival and Melbourne International Film Festival – not to mention the more specific international ones like New York’s Japan Cuts and the New York Asian Film Festival. The Japanese Film Festival can proudly sit next to these programs as not just one of the best festivals in Australia, but one of the strongest and longest-running festivals in the world. Here’s looking forward to 2029 and beyond.

You can see The Reel Bits’ entire coverage right here on our JFF 2019 stream. The Reel Bits proudly keeps Asia in Focus throughout the year.
November 29, 2019
Review: Little Love Song

Films based on the music of a band or performer have spanned genres, from this year’s Wham! inspired Last Christmas to practically any film drawing on The Beatles. Following the based-on-a-song Snow Flower, director Kojiro Hashimoto is rapidly carving out a niche in the sub-genre with LITTLE LOVE SONG (小さな恋のうた), a film based on the music of Japanese band MONGOL800.

In the shadow of the US Army base, a high-school band in Okinawa is developing a fierce following. Yet when tragedy strikes on the cusp of breaking big with a major label, singer Ryota (Hayato Sano), drummer Kotaro (Yuki Morinaga) and fledgling guitarist Mai (Anna Yamada) – the sister of their former guitarist – must decide how they will go on.

On the surface, Hashimoto’s film can be viewed primarily as a coming-of-age drama framed within the struggles of a high-school band. Yet there’s nothing especially straightforward about the telling of Kenya Hirata’s (Confession of Murder) screenplay. From a trauma induced dream sequence that takes up most of the first act to the constant flashbacks, the whole film is kind of structured like a song. Each of the vignettes is a verse while the performances punctuate the narrative like a chorus.

There’s also a secondary storyline around an American family living on the US Army Base in Okinawa. The kids talk with young Lisa (Claire Tomiko), who develops a friendship with them from the other side of a fence. Following the hit-and-run death of a local teen, the Okinawans turn their rage against the Army base who are presumptively harbouring the culprit. This thread, thematically reminiscent of the Ryugo Nakamura’s Okinawa-set films (including 2016’s Girl of the Sea) adds an extra level of drama and tension that reflects decades of underlying tension on the isalnd.

The songs that act as the film’s backbone – including the titular ‘Chiisana Koi No Uta’ – are a likeable retro throwback. While there’s really only a handful of them used throughout the film (it’s a high school band after all), ‘Don’t Worry, Be Happy’ (off their 2000 album Go On As You Are) gets the right amount of play to balance out toe-tapping with the emotional peaks and troughs.

Relative newcomers Hayato Sano (Blue Summer) and Anna Yamada (5 Million Dollar Life) are enthusiastic and authentic in the roles. The perpetually middle-aged teen Yuki Morinaga (known for the Chihayafuru series) is arguably the standout, and like all good drummers he steadily maintains the emotional beat to allow his co-stars their solo moments. The “American” casting is a little less successful from the perspective of a Western audience, with some wooden English-language overacting (which fans of Asian cinema tend to be used to), while the all-American teen daughter Tomiko is inexplicably part Japanese.

If this is indeed structured like a little love song, as the title would imply, then it’s inevitable that it’s all going to end in a strong performance. Which is where LITTLE LOVE SONG really shines, strumming along to its simple message that (in the words of Mai) “Music can teach you a lot about life.”

2019 | Japan | DIR: Kojiro Hashimoto| WRITERS: Kenya Hirata | CAST: Kazuhiko Kanayama, Gordon Maeda, Yuki Morinaga | DISTRIBUTOR: Toei (JPN), Japanese Film Festival 2019 (AUS) | RUNNING TIME: 123 minutes | RELEASE DATE: October – December 2019 (JFF)

November 27, 2019