Tokyo Festival Chief Seeks Funding Boost

Takeo Hisamatsu has returned to the directorship of the Tokyo International Film Festival, his country's largest cinematic gathering, following the abrupt departure of predecessor Hiroyasu Ando earlier this year. Hisamatsu, who previously led the event from 2017 to 2021, stated that the reinstatement was a surprise but an honor that allows him to pursue goals previously unattainable.

The festival is operating against a backdrop of strong international interest in Japanese film. Hisamatsu cited recent Academy Award wins for Ryusuke Hamaguchi's Drive My Car and the visual effects of Godzilla Minus One as evidence of this momentum. Japan was also selected as the country of honor at Cannes' Marché du Film in May. Domestically, the Japanese box office reached a record 274.5 billion yen, or 1.8 billion dollars, in 2025, surpassing the previous high set in 2019.

Hisamatsu aims to position the festival as a launchpad for Japanese filmmakers seeking international exposure, rather than solely a platform for introducing foreign cinema to local audiences. To support this shift, the organizers introduced competitive prizes for the Nippon Cinema Now section this year. They also launched a Work-in-Progress initiative designed to connect ongoing Japanese productions with international festival programmers and industry leaders.

Despite the industry's success, the director identified funding as the primary obstacle to the festival's expansion. He noted that the recent depreciation of the yen and rising inflation have reduced the purchasing power of the existing budget. Hisamatsu emphasized the need to expand operations rather than cut costs, particularly for travel and hospitality for invited talent. He expressed optimism that the government, which views the content industry as a priority growth sector, will increase its support before the 40th anniversary edition next year.

In the interim, the festival is actively seeking private sponsorship and studio partnerships. Hisamatsu stated that the team is working to demonstrate the value of the 40th anniversary edition to potential sponsors. He is also encouraging Japanese studios to use the event for networking, a practice common at the Busan International Film Festival. This year, Toho hosted its first invitation-only Izakaya Night to promote its projects, though other major studios did not organize similar events in time.

The director views the upcoming anniversary as a chance to reassess the festival's standing in the global circuit. He acknowledged that Tokyo is often perceived as competing with Busan, which has grown significantly in recent years. However, he pointed out that Asia accounts for approximately 40 percent of the global box office. Hisamatsu suggested that the two festivals could collaborate to showcase Asian cinema rather than treating each other as direct rivals.