Amidst the buzz of the Tokyo International Film Festival, major industry players gathered to discuss the future of filmmaking in Japan. The conversation focused intensely on the structural support systems available to global productions, highlighting both the governmental ambition and the practical hurdles faced by filmmakers. A critical examination of the new incentives scheme revealed concerns that, despite positive progress, the current framework might inadvertently be narrowing the scope of projects able to shoot within the country.
Speaking at a panel seminar, Tokyo Vice producer Alex Boden and Netflix’s APAC Content & Studio Production Affairs chief, Debra Richards, provided expert commentary on the IP360 incentives scheme. This discussion took place at the ongoing Tokyo International Film Festival, addressing how Japan’s governmental efforts to boost its content industry might be excluding certain international and co-production ventures.
Rethinking the financial thresholds and process
The IP360 scheme, which was introduced last year to replace the previous JLOX system, is part of a massive national strategy by Japan’s Ministry of Economy, Trade and Industry. Its core aim is ambitious: to significantly increase the export value of Japanese content, targeting $127 billion by 2033, while simultaneously drawing major international productions to the islands. However, the panel speakers noted that the current minimum spending requirements are proving restrictive.
Boden pointed out that the minimum spending threshold was recently increased to around $5 million based on expenditure within Japan. This new cap, he explained, unfortunately excludes the majority of Japanese films, which typically operate on much smaller budgets, ranging from $1.5 million to $3 million. Furthermore, the system currently encourages only production companies with high-budget experience to apply, which limits the pool of potential participants.
The importance of stability and parity
The discussion quickly pivoted to the necessity of clear, stable policies to facilitate international investment. Debra Richards stressed that the sudden or frequent changes to funding criteria make it incredibly difficult for creative teams to plan their logistics and budgets years in advance. She underlined the need for consistent support, stating, “Certainty is very important.”
Richards also made a crucial point about the philosophy behind the incentives themselves. She argued that the government schemes must equally value local Japanese content and international productions. Failing to provide parity risks creating an environment where the two types of content compete against each other in terms of financial support.
Building a resilient industry ecosystem
The panel highlighted the concept of a “virtuous circle”—the process by which international filmmaking stimulates and improves the local creative sector. This cycle involves international crews working alongside local talent, which builds confidence and specialized know-how among the Japanese workforce.
One veteran Japan-based fixer noted that when local teams participate in international jobs, they become adept at mastering highly specific software and departmental methods used overseas. This transfer of advanced skills means that the local industry is better equipped to support larger, more complex international co-productions in the future.
Globally, the message remains consistent: stability is paramount. Paul Muller, speaking on behalf of the MPA, noted that having a consistent incentive scheme—without sudden policy shifts—is what allows content industries in places like Australia and Thailand to develop and plan years ahead. The overarching goal for Japan is clear: to ensure that the incentive system supports both the small independent filmmaker and the massive international blockbuster, making the destination universally attractive. Ultimately, the continued success of the industry hinges on the certainty of the rules, just as the curtain rises on a new play.
