The curtain rises on the 39th Tokyo International Film Festival, setting the stage for discussions that go far beyond the screening of films. During a press conference held by the jury, Australian filmmaker Rolf de Heer offered commentary on the industry’s newly formalized ranking system for global film events. He suggested that the establishment of an official A-list status might not fundamentally alter the atmosphere or quality of the festival itself.
The conversation centred on FIAPF’s decision to designate a select group of major cinematic events as ‘A-list’. In March, the international federation of film producers’ associations replaced its previous four-category accreditation system with a single, unified list. This list of 17 festivals includes established names like Cannes, Venice, and Berlin, alongside Tokyo, while also welcoming Busan and Toronto for the first time.
The permanence of festival status
The core of the discussion revolved around whether this formalized classification truly dictates a festival’s prestige. De Heer reflected that, in his experience, Tokyo had long been regarded by most attendees as a premier event, suggesting that the new designation was perhaps redundant. He conceded, however, that the official status may carry more weight when determining the perceived calibre of the films a festival is able to secure.
Korean producer Oh Jungwan echoed this sentiment, dismissing the importance of the ranking system for the average film enthusiast. She argued that cinema-goers attend festivals primarily to “watch film and enjoy the feeling, the festival feeling,” rather than being drawn by an arbitrary list. The discussion highlighted a divide: for some, the ranking matters enormously, while for others, the magic of film takes precedence over any official label.
The mechanics of filmmaking and funding
Beyond the rankings, the jury members were prompted to discuss the practicalities of filmmaking and international collaboration. De Heer addressed the topic of co-productions between Australia and Japan, stating that such joint ventures are generally more viable when they are driven by a natural narrative need rather than purely by financial incentives. He noted that Europe, in particular, is highly skilled at funding co-productions based on financial structures.
However, Alex Lo offered a counterpoint, suggesting that the increasing difficulty in securing local government support across various regions is driving producers in the U.S. and Europe to actively seek co-production opportunities globally. This suggests a growing need for international partnerships to fund ambitious cinematic projects.
Looking ahead for cinema
The jury itself is comprised of diverse talents, including Japanese actor Watanabe Makiko and colourist Yov Moor, and tasked with the challenging job of selecting the Tokyo Grand Prix from fifteen competing titles. The festival is scheduled to run through to November 4th, providing a focused window for critical discussion and cinematic revelation.
De Heer offered a final, definitive statement on the matter of perceived value, suggesting that the classification system must accept its inherent limitations: “It matters a great deal to some people, and not at all to others. And that is as it should be.”
Despite the professional debate, the fundamental draw of the festival remains the art itself. The A-list may change, but the shared love of film ensures the festival feeling endures.
