As a lifelong enthusiast of Japanese cinema and virtual reality experiences, I am absolutely thrilled by the Japan Focus at this year’s Venice Production Bridge (VPB). Having traveled extensively across Japan, immersing myself in its rich cultural tapestry, I can confidently say that the projects being showcased represent the very best of Japanese creativity.
At the Venice Production Bridge, Japan stands out as a key country of interest, alongside Wallonia-Brussels and Luxembourg. Several projects featuring Japanese directors, producers, and financiers are present in these regions, although they can be found in varying configurations.
These ventures are set to attend the VPB’s Venice Gap-Financing Market (from August 30th to September 1st). The chosen projects need to already have 70% of their funding in place. To secure the remaining 30%, filmmakers and producers will hold private meetings with potential investors and post-production service providers.
Additionally, under the VPB’s supervision, there is the Book Adaptation Rights Market, taking place from August 30 to September 1. Thirty international publishing houses and literary agencies will take part in this event, along with two Japanese publishers who are part of Focus Japan, a program supported by Japan External Trade Organization.
In my latest review, I’m focusing on two intriguing films – one from Europe and another from an international location. The international spotlight falls on Japan this time, and according to the head of VPB, Pascal Diot, this selection is primarily due to a recent film co-production agreement between Japan and Italy.
“He mentions that this seemed like a great chance to highlight some Japanese projects and skills, specifically during the Venice Production Bridge and particularly the Venice Gap-Financing Market,” he says.
A significant factor for Diot: “Japan is creating engaging productions, which are crucial elements of the Virtual Production Base (VPB). Japan will have a presence at our Venice Immersive Island and showcase Japanese immersive creations to both industry experts and the general public.”
Furthermore, he emphasizes that Japan continues to draw in international co-productions, and the Visual Products Business (VPB) serves as an ideal location for this purpose.
One of the projects showcased within the Japan Focus, a collaboration between VPB and JETRO, is Kazuki Yuhara’s “First Virtual Suit.” This Tokyo-based production from CinemaLeap offers an immersive, interactive journey employing MR and VR technologies. Participants will don Meta Quest 3×4 headgear to embark on a quest in future Japan as a high school boy, seeking his personal avatar while uncovering his true identity through music and dance.
In simpler terms, Tetsuya Ohashi from CinemaLeap shares that “Part of the funding for ‘First Virtual Suit’ has been provided by Japan’s Ministry of Economy, Trade, and Industry.”
CinemaLeap is present at VPB seeking international production and screening collaborators, as Ohashi explains, this project aims to appeal to people globally, not just those residing in Japan.
“He suggests that by partnering with creators and studios across different nations, we can produce high-quality content that appeals to audiences worldwide,” he explains.
A different undertaking for Japan Focus is the “hybrid” documentary “Movie Kintsugi,” created by German director Eva Knopf. This project draws inspiration from the traditional Japanese art of kintsugi, where broken pottery is mended using lacquer, gold dust, and various other substances. In Knopf’s vision, fragments of a 1920s silent film by renowned Japanese filmmaker Yasujiro Ozu will be woven into the narrative of a modern-day woman living in Tokyo.
According to Ryohei Tsutui, representative of the film’s Japanese production partner Trixta, they believe that VPB is the ideal platform for unveiling our project to the global industry and finding the collaborators essential for its progression.
Additionally, VPB will be organizing a panel discussion on September 1st about collaborative animation productions between Japan and Europe. This event is being coordinated with the MIFA market of the Annecy Animation Film Festival. Key speakers for this event are executives from Asmik-Ace, a Japanese production and distribution company, and Dwarf Studios, an animation studio.
In Japan’s self-contained entertainment industry, international co-productions are relatively scarce, with domestic media companies usually serving as production partners. However, for our Japan Focus projects, these types of collaborations are the norm: “Naturally, chosen projects tend to be co-productions or those with potential,” explains Diot. “This is why you see Japanese co-productions. We hope they will find the right influencers to secure their funding.”
Read More
- Hades Tier List: Fans Weigh In on the Best Characters and Their Unconventional Love Lives
- Smash or Pass: Analyzing the Hades Character Tier List Fun
- Why Final Fantasy Fans Crave the Return of Overworlds: A Dive into Nostalgia
- Sim Racing Setup Showcase: Community Reactions and Insights
- Understanding Movement Speed in Valorant: Knife vs. Abilities
- Why Destiny 2 Players Find the Pale Heart Lost Sectors Unenjoyable: A Deep Dive
- How to Handle Smurfs in Valorant: A Guide from the Community
- FutureNet Co-Founder Roman Ziemian Arrested in Montenegro Over $21M Theft
- Brawl Stars: Exploring the Chaos of Infinite Respawn Glitches
- Is Granblue Fantasy’s Online Multiplayer Mode Actually Dead? Unpacking the Community Sentiment
2024-09-03 08:47