Star Flops and Slowing Investment Help Explain China’s Thin Festival Presence, Says Tokyo Programming Director

Star Flops and Slowing Investment Help Explain China’s Thin Festival Presence, Says Tokyo Programming Director hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 26, 2026 12:00am PT Star Flops and Slowing Investment Help Explain China’s Thin Festival Presence, Says Tokyo Programming Director By Naman Ramachandran Plus Icon Naman Ramachandran Latest Family Dramas Dominate Tokyo Festival’s Asian Lineup Amid ‘Geopolitical Volatility’ 31 minutes ago Tokyo Festival’s Women’s Empowerment Lineup Follows Those Who ‘Fall Through the Cracks’ 47 minutes ago ‘Saiyaara’ Star Ahaan Panday and Sharvari’s Ali Abbas Zafar Romantic Action-Drama for Yash Raj Films Unveils Title (EXCLUSIVE) 2 hours ago See All Add us as a Google Preferred Source Comments Star-driven flops at the Chinese box office, slowing investment and a reportedly more complicated censorship process have a bearing on China’s low profile at international festivals this year, according to Ichiyama Shozo , programming director of the Tokyo International Film Festival . “In the past, casting a star in the leading role could guarantee a certain degree of success, but this year, many films featuring star actors have flopped at the box office,” Ichiyama tells Variety .

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Popular on Variety Ichiyama has worked closely with Chinese-language auteurs including Hou Hsiao-hsien and Jia Zhangke, and says the mainland industry changed sharply in the mid-2000s. As the economy boomed, multiplexes multiplied and box office prospects rose, even independent projects with no stars attached could raise reasonable budgets in China.

Taiwan, by contrast, looks comparatively steady. Its home market has always been small, Ichiyama says, but a range of public support mechanisms keeps production going.

This year’s lineup is marked by films about historical events, wars among them, Ichiyama says. They include Samuele Rossi’s Competition entry “Even If Hell Came,” which follows a young Italian partisan holding out in the Alps in the winter of 1944.

“I believe this reflects a global trend, as symbolized by the films dealing with the Second World War that were screened at this year’s Cannes Film Festival,” he says. Most of these filmmakers, he believes, look back at past events as a way to examine a world that is growing more divided.

Tokyo’s Competition requires at least an Asian premiere, but the festival pushes for world premieres, and the split between the two usually lands at around half and half. The festival also aims for around half of the 15 films to come from Asia.

Emerging directors expected to shape the future of world cinema get priority over established names, though veterans are not shut out. This year’s lineup includes veterans such as Garin Nugroho (“Red Before Dawn”), Milcho Manchevski (“Sister Brother Manhole Cover”) and Bahman Ghobadi (“Trees Are Watching”).

Ichiyama says the established directors in the selection are reaching for something different from their earlier work. “We hope that our competition will serve as a platform for discovery,” he says.

The Japanese titles in Competition, among them Ikeda Akira’s “The Canary’s Lullaby” and Yamamoto Akira’s “The Intertwining,” sit alongside those in the Nippon Cinema Now section.

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