Tokyo International Film Festival (TIFF)’s Transitions and Iterative Approaches [Fujitsu Ryoouta’s Anime no Mon V Episode 124]

The 38th Tokyo Kokusai Eigasai (Tokyo International Film Festival – TIFF) 2025 concluded on November 5th. Since 2020, I have served as the Programming Advisor for the Animation Division of the Tokyo Kokusai Eigasai. In short, a Programming Advisor is essentially the head of the division, responsible for selecting the films to be screened. During the film festival, I also host stage greetings and talks for the screened works, and plan and moderate symposiums.

This year marks my sixth year in this role. For the first three years, the division was structured around three pillars: domestic works, tokusatsu programs, and retrospectives. Starting in 2023, the tokusatsu component was removed, and instead, we began to feature international animated feature films.

Having completed three cycles of each format, it feels like a good time for a pause and reflection. I thought it would be a good opportunity to document the transitions of the Animation Division and my thoughts on selecting screening works in this column.

The Birth and Early Years of TIFF’s Animation Division

The Animation Division at the Tokyo Kokusai Eigasai was established in 2019. While anime screenings had occurred previously in special capacities, the serious inclusion of animation began in 2014 with “Anno Hideaki no Sekai” (Anno Hideaki’s World). Until 2018, screening projects primarily focused on retrospectives of animation directors. Then, in 2019, the Japanese Animation Division was officially formed. Hikawa Ryuusuke, an anime and tokusatsu researcher who had been involved with the Tokyo Kokusai Eigasai since “Anno Hideaki no Sekai,” took on the role of Programming Advisor here.

In 2019, alongside new domestic animated films, there was a retrospective titled “Nihon Anime Masters” (Japan Anime Masters).

The films screened under this retrospective were Hakuja Den, AKIRA, and Gekijouban Ace wo Nerae! (Theatrical Version Aim for the Ace!). The division was conceptually structured to highlight the post-war animation history by comparing these three classic works with contemporary new films.

Furthermore, in the same year, the remastered version of Ultra Q was also scheduled for screening due to various circumstances. Integrating this, a TIFF Master Class titled “Anime Eiga Shi, Saijuuyou Henkaten wo Kataru” (TIFF Master Class: Discussing the Most Important Turning Points in Anime Film History) was held. This master class effectively served as a conceptual explanation for the 2019 Animation Division, delving into the context of post-war animation culture. The discussion leaders were Hikawa Ryuusuke and anime history researcher Haraguchi Masahiro. This master class foreshadowed Hikawa Ryuusuke’s two later books: Nihon Anime no Kakushin Rekishi no Tenkanten to Natta Henka no Kouzou Bunseki (Innovation of Japanese Anime: Structural Analysis of Changes that Became Turning Points in History) and Kuusou Eizou Bunkaron Kaijuu Boom kara ‘Uchuu Senkan Yamato’ e (Fantasy Visual Culture Theory: From Kaiju Boom to ‘Space Battleship Yamato’).

My Vision: The Three Pillars of the Animation Division

Against this backdrop, I accepted the role of Programming Advisor for the Japanese Animation Division. A major influence on my decision was how exceptionally well-structured and comprehensive the Master Class “Anime Eiga Shi, Saijuuyou Henkaten wo Kataru” had been. Since a historical overview had already been so thoroughly conducted, it spurred me on with the conviction that it was time to decisively embark on something entirely new.

Thus, from 2020 onwards, I established the basic policy of structuring the division around three core pillars: “New Domestic Works,” “Tokusatsu,” and “Retrospectives.” While the division later broadened to include international works from 2023, changing its name simply to the “Animation Division,” the fundamental approach of thinking in terms of three pillars – now “International,” “Domestic,” and “Retrospectives” – has remained consistent. Approximately 10 to 12 screening slots are allocated and organized using these three perspectives.

Selecting Domestic Anime Features

For the selection of new domestic animated films, our basic policy has remained unchanged over these six years. This is partly due to the nature of Japanese anime films, which often complete very close to their release dates, meaning we primarily select from already released works (though exceptions do occur). When choosing, we focus on original projects and adaptations of novels where the anime creative team’s vision has been significantly utilized in the visual development.

A film festival is a platform to showcase values different from commercial cinema, and it also has the potential to reach audiences beyond just anime fans. Therefore, instead of merely picking “this year’s face” or a big hit, we prioritize selecting “unique works that attempt some kind of challenge.”

The Retrospective Section: A Journey Through Anime History

Regarding retrospectives, we decide on a theme each year, carefully considering the current landscape. A key point of focus for me is whether we can provide an academic or critical perspective, an approach rooted in anime history. If this aspect is weak, the programming might resemble a simple “all-night screening” event at a classic cinema, diminishing the specific reason for showcasing it at a film festival. In that sense, grappling with how to make the retrospectives incisive and distinct has been a significant challenge.

My decision to organize a retrospective around Gekijouban Pocket Monsters (Theatrical Version Pokémon) in 2020, my first year as Programming Advisor, might not immediately appear to be “incisive,” but it stemmed from this very desire to sharpen the concept. One reason was that the Gekijouban Pocket Monsters series was undergoing various changes at that time. However, the primary motivation was to put into practice the idea that “finding some element of ‘authorship’ within program pictures constitutes auteurism in its truest sense.” While I acknowledge many areas for improvement in thoroughly achieving this, discovering the creators’ touch within program pictures remains an important endeavor. I hope to someday have an opportunity to revisit this idea, not just at the Tokyo Kokusai Eigasai but elsewhere.

Since 2021, our retrospectives have covered themes such as “Ootsuka Yasuo,” “Anime to Tokyo” (Anime and Tokyo), “Kaigai Eigasai to Kantoku” (International Film Festivals and Directors), Uchuu Senkan Yamato Gekijouban (Space Battleship Yamato Theatrical Version), and Momotarou Umi no Shinpei (Momotarou: Sacred Sailors). For “Anime to Tokyo,” a project I’d long wanted to do, I regret that the context we aimed to convey was difficult to grasp, as the films were screened individually. “Kaigai Eigasai to Kantoku” was designed to coincide with our new focus on international works, featuring recent films that had won awards at overseas film festivals. Thus, its conceptual framework wasn’t as robust.

In 2024 and this year, we screened only a single work for each retrospective: Uchuu Senkan Yamato Gekijouban and Momotarou Umi no Shinpei, respectively. This decision came from past reflections, believing that by showcasing a single historically significant work instead of grouping multiple films, the retrospective’s concept would stand out more clearly and gain a sharper edge. I feel this approach proved quite effective.

The Tokusatsu Section: From Core Pillar to Evolution

Tokusatsu, initially one of the division’s core pillars, continued the legacy from 2019, with themes like the Super Sentai series in 2020, the Kamen Rider series in 2021, and Ultra Seven in 2022. However, considering that many tokusatsu works primarily thrive as TV series and the limited number of themes suitable for a dedicated feature, there was undoubtedly a challenge: how many more times could we devise projects that provided a compelling reason for film festival screenings without resorting to overly forced or unconventional themes? Of course, tokusatsu films and programs often fall through the cracks of both anime and live-action cinema, existing as “orphans of media art,” which is a truly regrettable situation. Nevertheless, the discontinuation of “Tokusatsu” after 2022 and the subsequent shift to focusing on international animated feature films felt like a natural progression.

Spotlight on International Feature Animations

The process for selecting international works begins with applications from rights holders or distribution companies – specifically, online screening links are sent to the festival. As the Programming Advisor, I meticulously review these submissions, choosing those that catch my interest. Each year, I typically review around 30 films to make my selections.

The selection criteria are simple: “Is it (in a broad sense) interesting?” However, the world’s largest animation film festival, the Annecy Kokusai Animation Eigasai (Annecy International Animation Film Festival), takes place in June, and its main competition and Contrechamp competition attract powerful works. Fortunately, the Tokyo Kokusai Eigasai is held at a good time, making it easier to book award-winning films from Annecy. Therefore, bringing globally acclaimed works to Japan ahead of their wider release is one of the justifications for our selections.

However, I also want to avoid a lineup that too closely mirrors the buzz from Annecy, as this would compromise the unique identity of our festival. That’s why I felt it was crucial to discover and include interesting works that might not have been featured in Annecy’s two major competitions.

In 2023, we screened Shinkai Restaurant (Deep Sea), the new work by Tien Xiaopeng, director of Saiyuuki Hero is Back (Monkey King: Hero is Back). In 2024, we had the pleasure of showing Oribia to Kumo (Olivia and the Clouds) by director Toomasu Pikkarudo-Esupiratto, the Dominican Republic’s first adult animated film. Oribia to Kumo later garnered attention at film festivals worldwide (I coincidentally met the director at an Annecy party this year and was able to congratulate him on his Contrechamp competition entry), and its release in Japan has also been confirmed.

For 2025, examples of such discoveries would be Dekorado by Alberto Vázquez, director of Yunikoon Uoozu (Unicorn Wars), and Watashi wa Furankeruda (I Am Frankelda), Mexico’s first animated stop-motion feature by directors Loi Amblis and Arturo Amblis. While there’s an element of luck involved, as the Tokyo Kokusai Eigasai’s Animation Division becomes more known internationally for showcasing overseas works, it will likely attract even more captivating submissions.

The Vital Role of Symposiums

In addition to the film screenings, the symposiums held during the festival are also a crucial element of the division. The constraint I placed on myself for planning these symposiums was to “create meeting points between international directors and Japanese directors.” Since the Animation Division doesn’t host large parties or similar events, I believed it was essential, as an international film festival, to provide as many opportunities as possible for international guests and domestic directors to interact. However, when involving international guests, setting themes can be challenging, and I have many reflections on this. From last year, by setting slightly more flexible themes, I hope to increase the freedom of expression and make moderation easier.

Furthermore, for retrospectives, I believe symposiums are indispensable for providing the necessary context, explaining “why” a particular work or theme was chosen. These symposiums are also archived on the official Tokyo Kokusai Eigasai channel and can still be viewed today.

■ 2023 Symposium: “The Possibilities of Animation Expression”
Speakers: Hara Keiichi (Director), Itatsu Masami (Director), Katabuchi Sunao (Director), Pablo Berger (Director)

■ Is Animation Just for Kids? Japanese, Chinese, and Czech Animators Discuss: Symposium “Animation Depicting Youth”
Speakers: Philippe Posiwač (Director), Iwasawa Kenji (Director), Tachikawa Yuzuru (Director), Yan Chen (Producer), Yoshihara Masayuki (Director)

■ 2024 Anime Symposium: “The Path to Becoming an Animation Director” – International and Domestic Directors Gather to Share Their Reasons for Aspiring to Direct
Speakers: Gints Zilbalodis (Director), Ahn Jae-hoon (Director), Toomasu Pikkarudo-Esupiratto (Director), Yoshiura Yasuhiro (Director)

■ Symposium “Japan Anime’s New Generation” – Future Trends Seen Through Three Young Directors Leading the New Era
Speakers: Popurika (Director), Yasuda Gensho (Director), Tsukahara Shigeyoshi (Director)

■ Symposium: “The Historical Significance of Uchuu Senkan Yamato” – Discussing the Impact of “Uchuu Senkan Yamato,” which Celebrated its 50th Anniversary, on Subsequent Anime Works
Speakers: Hikawa Ryuusuke (Anime/Tokusatsu Researcher, Specially Appointed Professor at Meiji University)

Looking Ahead: The Future of the Animation Division

As a Programming Advisor, my contract is on an annual basis, so there’s no guarantee I’ll be in the role next year. Regardless of whether I continue or someone else takes over, I hope that all these trials and errors will serve as valuable experience, and that we can continue to explore and strive for even better forms for the Animation Division.

【Fujitsu Ryouta】
Born in 1968 in Shizuoka Prefecture. An anime critic. His major works include “Anime Hyouronka” Sengen (Declaration of an “Anime Critic”), Channeru wa Itsumo Anime Zero Nendai Anime Jihyou (The Channel is Always Anime: 2000s Anime Review), Seiyuu Go ~Anime ni Inochi wo Fukikomu Purofesshonaru~ (Voice Actor Language ~Professionals Who Breathe Life into Anime~), and Purofesshonaru 13 nin ga Kataru Watashi no Seiyuu Dou (13 Professionals Talk About My Voice Acting Path). His latest book is Bokura ga Anime wo Miru Riyuu 2010 Nendai Anime Jihyou (The Reason We Watch Anime: 2010s Anime Review). In addition to teaching anime courses at various culture centers, he hosts a live stream on “Anime no Mon Channel” on the first Friday of every month.

《Fujitsu Ryouta》