The Tokyo International Film Festival (TIFF) has again dazzled audiences with intriguing and diverse offerings, showcasing films from across the globe. Highlights this year include the world premieres of titles like Orang Ikan, Twilight of the Warriors: Walled-In, and Missing Child Videotape, each bringing its own flavor to the iconic festival. The event not only celebrates cinema but also reflects the subtle cultural nuances of Japan's audience.
The world premiere of Orang Ikan, directed by Mike Wiluan, was met with subdued applause but stood out for its fierce storytelling and inventive visuals. This 83-minute feature catapults viewers back to a gritty World War II era, chaining its protagonists—prisoners of war—together as they navigate terror and destitution. The creature, reminiscent of the Creature from the Black Lagoon, and its grotesque depredations—ripping out hearts and tearing crocodiles apart—prove captivating, though perhaps too extreme for the polite sensibilities of the Tokyo audience. The film is not ground-breaking but certainly entertains, creating interest without causing raucous reactions from the crowd.
The atmosphere at TIFF felt distinctly different from genre festivals typically found elsewhere, like those in North America where loud reactions during screenings are commonplace. Here, commotion or unrestrained enthusiasm could have possibly led to some furrowed brows among the locals. It draws attention to the delicate balance TIFF maintains between culture and entertainment, inviting not just thrill-seekers, but purists too.
Shifting from the gory madness of Orang Ikan, the festival screened Twilight of the Warriors: Walled-In, directed by the well-respected Soi Cheang. This film harkens back to the noble ‘80s Hong Kong action cinema, laden with themes of brotherhood, loyalty, and the defense of the weak. It presents both accolades and threats, casting beloved veterans like Sammo Hung alongside burgeoning stars like Raymond Lam and Phillip Ng. The action and choreography here resemble ballet—graceful yet powerful—but also fully invested with audacious martial arts and supernatural elements. Cheang’s distinct style peaks through, reminiscent of his mentors, winning hearts and, at times, actual laughs from the TIFF crowd.
Interestingly, the combination of poignant comedy interlaced with serious themes stirred up nostalgia but remained accessible, captivating the audience’s attention and even inciting moments of genuine laughter. The presence of skilled stunt coordinators like Kenji Tanigaki ensured the visual spectacle of punches and kicks felt thrilling. Unlike previous screenings, the audience was noticeably inclined to cheer, though confined still, to mere claps.
While audiences reacted differently to the varying genres, it’s across these distinctive cultural experiences where TIFF thrives. For example, director Ryota Kondo’s Missing Child Videotape debuted with praise from cast members, who believe it surpasses the jump-scare-driven horror typical of contemporary cinema. Their appreciation for Kondo’s ability to forego cheap shock tactics hints at the broader vernacular of horror across cultures. The film is steeped in oppressive dread, building tension effectively. Kondo’s admiration for J-horror luminaries—Hideo Nakata, Kiyoshi Kurosawa, and Takashi Shimizu—infused the film with familiar tropes, such as found footage layered with poignant narratives.
Missing Child Videotape marries elements of urban alienation with age-old terrors, highlighting the fear of the unknown. A ghostly presence lingers uncomfortably throughout the film, replicable across cultures, as unexplainable dread resonates universally. The atmosphere is so intense it felt tangible, underscoring Kondo’s ability to hold audience attention delicately by leaving questions unanswered. Missing Child Videotape stands as Kondo's potent entry point, with whispers of him being the next acclaimed name worthy of the J-horror mantle.
Indeed, Kiyoshi Kurosawa, one of the cornerstones of Japanese horror, is returning to TIFF this year, not just to showcase his expertise, but also to mentor budding filmmakers. His masterclass drew students and fans alike eager to learn from the man behind body of work defined by slow-burn tension and existential questions. Kurosawa champions collaboration over control—advocates for directors to let professionals do their jobs at times—and inspires creativity through dialogue and varied cinematic interests.
During the session, he stressed the importance of setting the scene and leveraging location. “For me, what’s most important is location hunting,” he explained. The ability to source the right backdrop can inspire entire scenes, transforming what’s merely written on paper to vibrant, organic movement. He suggested embracing unpredictability, capturing the unpredictable essence of storytelling through collaboration, which is as invigorate. This belief sets him apart, cementing his spot as one of the significant influences shaping Japanese cinema.
Kurosawa’s philosophy of letting the viewer grapple with ambiguity applies not just to horror but to storytelling as a whole. He emphasizes the role of sound design, stating, “Sound design creates more anxiety than the visuals.” This technique stirs tension at primal levels, keeping the audience on the edge throughout the viewing experience.
This year’s TIFF unearths not just films, but focuses on the cultural exchange of ideas and artistry between filmmakers and audiences. Each story blends intricately, their genres melding, presenting various aspects of human experience through film—a powerful art form expressing cultural significance, engaging sentiments, and provoking thoughts.
The Tokyo International Film Festival remains committed to showcasing cinema’s vibrancy and dynamic scholarship, fostering communication between cultures and generations of filmmakers. It continues to carve out narratives, uplift the voices of animators, stunt artists, and directors, all of whom channel creativity through films with substance. This festival serves as more than just entertainment; it stands as a celebration of art and expression, signifying the power films hold to connect humanity.