Japanese Producers Drive Tokyo Market Growth as Exhibition Space Sells Out

Japanese Producers Drive Tokyo Market Growth as Exhibition Space Sells Out hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 27, 2026 3:42pm PT Japanese Producers Drive Tokyo Market Growth as Exhibition Space Sells Out By Naman Ramachandran Plus Icon Naman Ramachandran Latest Japan Must Follow Hollywood’s Distribution Playbook, Says Tokyo Market Chief Shiina Yasushi, Who Eyes Major Expansion by 2030 14 minutes ago ‘Tokyo Vice’ Producer, Netflix Executive Urge Changes to Japan’s Production Incentive at MPA Seminar as Government Readies Unified Content Body 14 hours ago ‘Mirzapur’ Tops a Decade of Indian Streaming as New Commissions Fall, IMDb Report Finds (EXCLUSIVE) 18 hours ago See All Add us as a Google Preferred Source Comments The Tokyo International Film Festival ‘s TIFFCOM market exhibition space sold out early this year, according to managing director Ikeda Kaori . More Japanese producers are using the Tokyo market to find partners while projects are still in development.

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Last year’s edition drew more than 4,600 industry professionals from 46 countries and regions, and attendance rose 13%. Ikeda credits global interest in Japanese content for part of that growth.

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“Beyond the traditional trading of completed content, TIFFCOM has increasingly evolved into a platform for finding partners from the project development stage, leading to a significant increase in participation by Japanese producers,” Ikeda tells Variety . She also points to Asia, which is now one of the world’s largest markets.

Governments across the region are actively backing their content industries, she says. This year’s Tokyo IP Market has grown to 10 participating IP holders and adds new categories, toys among them.

The pitch event has also changed format. Each company now gives a focused pitch on its flagship IP.

The changes come after the market’s expansion to the Cannes Film Market this year, where more than 700 people registered for its pitches, panels and related programs. The audience was mostly from Europe and Hollywood.

Ikeda says the IP holders who took part held a run of meetings with partners they rarely get to see in person. An initiative proposed by the Cannes market also set up matchmaking with the XR sector.

Overseas interest goes beyond the obvious hits. “IPs with an established audience, including ‘One Piece’ and ‘Super Mario,’ are undoubtedly attractive.

On the other hand, Japan still possesses a great number of outstanding original works with strong potential for screen adaptations and remakes, and Tokyo IP Market is designed as the platform to discover them,” Ikeda says. Many producers want to adapt or distribute distinctive stories that are not yet well known, she adds, and each market has its own scale and audience.

The Tokyo Gap-Financing Market (TGFM) has 24 live-action and animation projects this year. It has also teamed with Canadian genre outfit Frontières.

Ikeda says Japan, Thailand and Indonesia stand out in Asia for genre films such as horror and thrillers. “Horror in particular is often deeply rooted in local culture and traditions, making it naturally unique while offering exceptional entertainment value,” she says.

TGFM wants the genre focus to widen the mix of projects and filmmakers at the market. It also hopes to give Asian projects a route into North America.

The market already has results to show. Two projects developed through TGFM are at this year’s Tokyo International Film Festival.

“The Violinist,” which took part in 2023, won the top prize at Annecy this year. Ikeda understands that the Italian financing on “The Violinist” and the Thai fina

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