The 39th Tokyo International Film Festival (TIFF), held from 26 October to 4 November, highlighted Japan’s growing global entertainment ambitions, from record-breaking anime revenues and international co-productions to intellectual property ownership and challenges facing independent filmmakers.
In its coverage of the festival and its accompanying content market, TIFFCOM, Variety identified several key developments shaping Japan’s film and entertainment industry.
The Japanese anime industry recorded worldwide spending of JPY4.45 trillion ($28.2 billion) in 2025, up 15.8% from the previous year, according to preliminary figures from the Association of Japanese Animations. Overseas revenue accounted for 57.1% of the total, while studio earnings reached a record JPY505.5 billion ($3.2 billion). The industry also announced the Nippon Anime Awards, with its first ceremony scheduled for November 2027.
Japanese intellectual property remained central to festival discussions. Amazon MGM Studios Japan announced plans to double its investment in Japanese content, while TIFFCOM confirmed a second Japan IP Market in Cannes in May 2027. The market attracted 1,425 registered buyers, producers and investors, a 13% increase.
Japan’s government reiterated its target of JPY20 trillion ($126.6 billion) in overseas content sales by 2033. However, filmmakers raised concerns about inadequate support for independent productions. Director O Mipo, a recipient of this year’s Kurosawa Akira Award, said Japanese directors could rarely survive on filmmaking alone. TIFF introduced a Work-in-Progress programme to help Japanese films secure completion funding.
International co-productions emerged as another major takeaway. Producers explored partnerships beyond Asia, including opportunities in Europe, Africa, the Middle East and South America. Taiwan-Japan fund Daily Capital launched with plans to raise NT$100 million ($3.1 million) and support at least five projects over two years.
The market also reflected changing financing models, with traditional all-rights buyouts giving way to minimum guarantees and separate territorial distribution deals. Meanwhile, discussions on artificial intelligence highlighted its potential to provide filmmakers with data rather than creative solutions.
The Academy of Motion Picture Arts and Sciences outlined plans to stream the Oscars free on YouTube from 2029. Tokyo also gained official A-list status alongside Cannes, Berlin, Venice, Toronto and Busan.
The festival screened 204 films, with Zeze Takahisa’s Sukiyaki opening and Yeon Sang-ho’s Colony closing the event. Milcho Manchevski’s Sister Brother Manhole Cover won the Tokyo Grand Prix.
Yamazaki Takashi’s Godzilla Minus Zero emerged as a major attraction. Its 3 November Japanese release earned JPY910 million ($5.8 million) from more than 590,000 admissions on its opening day, setting a record for a live-action film in Japan.
