Starting in 1997, the Japanese Film Festival Australia (JFF) was created with the aim of increasing global interest in Japanese film and cinema culture. At the beginning of COVID-19 pandemic, the Japanese Foundation created an online version of the Festival, which gained widespread popularity, resulting in its revival this year alongside the offline Japanese film festival. Specially curated and able to be streamed globally, JFF 2024 showcases 23 local Japanese films of various genres.
Showcasing the art of Japanese cinema in a foreign country is a difficult task and as such there are a number of curators who put the Festival program together to appeal to Australian audiences. This is where Manissay Oudomvilay comes in. The wizard behind the curtain whose passion for Japanese films had contributed to the festival’s heart, Oudomvilay works for the Japanese Foundation as a PR and Communication Coordinator and has contributed to four JFFs in total. With such experience, it is clear that Oudomvilay had a critical understanding of Australian audiences as well as a deep understanding of Japanese culture itself.
Honi Soit had the chance to sit down with Oudomvilay and delve deeper into the helm of curating these cinematic gems for the festival. Read on to discover the motivations, cultural nuances and perspectives behind the films which were showcased this year.
What makes this year’s JFF different from the other years? How is the engagement this year?
One notable thing is the running of the online Japanese Film Festival alongside the offline festival, which was initiated in 2020 due to COVID-19. As JFF online grows in popularity, more people are keen on tuning in, especially for people who can’t access it. We brought it in 2020 and now in 2024 as well, [and it is able to] be streamed in multiple countries across the world. Generally, with more people tuning in to watch movies offline, the incorporation of offline festivals has garnered more viewers by including those who can’t physically be there.
[A key] difference this year was the choice to include more brand-new films that had just come out in recent years. So by having a really solid film program, we were able to attract a good number of watches for the online film festival.
How did you curate those films and what’s the process behind it?
In terms of the online festival, the curation process is a bit different since it takes place in multiple countries run by the Japanese Foundation from all around the world—it’s a collaborative process with multiple offices all over the world alongside our Australian Office. We have people in our organisation that go through the choices and then rate these movies.
It was challenging since every country has its [own] taste, however, we tried to include newly released movies, emphasising showcasing modern Japanese cinema. Also, we try to pick movies from various genres such as drama, romance, anime, and films from different periods just to increase the variety. Overall, I think the choices were good in terms of variety.
How do you balance the amount of new/emerging Japanese films being spotlighted while also incorporating older films?
When it comes to programming a film festival we have to consider the availability of the films — thus, you see more focus on newer movies in this instalment. [Older] films were limited to a few titles [in the program]. However, including a well-known classical film that is a little bit more niche is also a good way to diversify a bit. [But] we [also] have to think about how accessible the movies are, since it will influence the interest in watching the films. For instance, there was a really good classic option called 24 Eyes (1953) — a 35mm print film — that was good to include because it is interesting and would have been hard to access otherwise.
What makes Japanese cinema different from others?
I think the films that come out of Japan are very unique, especially in the past and even now [in] the present. Directors and filmmakers in Japan tend to not think of a global audience when they’re making films, because many of the films that come out of Japan are only going to be seen by the Japanese, so they’re usually targeted to a more domestic audience. In that way, I feel like they’re different from the films in other countries.
There’s a certain style that you usually see with Japanese films that, especially if you’re comparing them to something out of Hollywood, you’ll find that the storytelling isn’t as self-explanatory or direct. [Differences in storytelling in Japanese cinema] usually comes in the form of leaving the endings or meanings of their films open to interpretation.
The artistic styles are very different to what you’d find in a Western film. Japanese film has a unique style, from filmmaking to how something is shot or lit. You can see how it’s distinctly Japanese. Additionally, the Japanese film industry is very diverse since some Japanese films might follow a certain formula while others are more out there and more experimental.
What would you recommend to someone who is new to Japanese films?
If I were to guide someone, a total newcomer, through Japanese films, I would first off introduce them to Japanese anime, which is an iconic part of Japanese cinema, like anything from Studio Ghibli, because that’s something that everyone should watch. But if they were looking for something live-action or not an anime, there are a few titles such as the award-winning Departures (2008), as a gentle introduction to Japanese culture that I think people would enjoy. If I have to recommend a newer movie, I would say Monster (2023), which I enjoyed watching last year.
Do you think watching Japanese cinema is a good way for someone to understand Japanese culture?
Yes, I think it’s a great way to learn about another country’s culture. Cinema in general is an effective way to understand a country’s culture. Most of the films that come out of Japan aren’t usually intended for a non-Japanese audience. So there are certain portrayals of culture that you will find in there which will feel transportive, depending on what you’re watching of course.
Even the values and messages that are shown in Japanese films will give someone an idea of what the social issues are in Japan or the ways of thinking which exist there.
What trends do you see in Japanese cinema and how do you think it will shape the future of the industry?
Over the past few or five years, especially last year, there have been a lot more films that have been showing at international film festivals or distributed overseas. [As a result] more people have the opportunity to view Japanese films. That’s one change I’m seeing and I think it affects the film content in a way. Japanese films are trying to branch out in terms of what themes they cover and attempt to be more universal. I think it’s a good direction for the industry to head because such exposure will supplement the growth of the Japanese film industry.
What are some of your personal favourites from the JFF online choices?
One of them was this film called Baby Assassins (2021) directed by Yugo Sakamoto. The movie is about two teenage assassins who are told by their boss that they need to start living a normal life. It’s an action comedy, with heaps of fun action scenes and banters between the two friends because they just can’t deal with having to live a normal life. It’s just a very fun, creative [film] and not like anything else I’ve seen come out of Japan.
Do you think the accessibility and rise of Japanese film cinema in general is because of the rise of digital platforms and streaming services?
The ease of access has promoted the rise of the industry. Five years ago you would hardly see anything coming out of Japan in Australian cinemas. Now it’s normal for a big title from Japan to be playing in mainstream cinemas here. Additionally, [with] globalisation and the popularity of Japanese culture or Japan as a tourist spot is [also] contributing to the rise of films here — they all have an interrelated effect.
With the increase of interest in Japanese culture, people seek ways to engage with it, and one way is by watching Japanese films in their home country.
What are your future goals for the festival?
We do try to get as many people by programming the festivals differently every year, and showcasing different sets of films each year. In the end, increasing viewership is always the end goal for us. Otherwise, we would try to do more different events or programs related to Japanese film. We hope to expand our reach every year and try to offer a more diverse range of programs and events for everyone to enjoy.
This year, one way we’ve done that is through the Japanese Film Festival Online, which we’ve been talking about.
Visit the Japanese Film Festival Online website to stream this year’s selection of films and TV dramas.
