Special Report
TIFFCOM 2023 On-site coverage
TIFFCOM 2023
TIFFCOM 2023 Issue

TIFFCOM 2023
Report from Hamamatsucho
TIFFCOM 2023
20TIFFCOM

25272023 10349
3,851
IP
TIFFCOM

The 20th Anniversary of TIFFCOM (TokyoInternational Film Festival Business ContentsMarket) was held at the Tokyo Metropolitan
Industrial Trade Center HAMAMATSUCHO-KAN fromOctober 25th (Wed.) to 27th (Fri.), 2023. As the firstphysical event in four years, the number ofexhibitors exceeded last year's total of 349
organizations, and the total number of attendees
more than doubled to 3,851. Movie Writer Yasue
Miwa reports from the new venue,
HAMAMATSUCHO-KAN on TIFFCOM, which plays arole as a platform for the audiovisual content
business with the participation of content sellers, IPholders, buyers, and filmmakers from around theworld.

TIFFCOM 2023
Direct Report from Hamamatsucho

DAY-1 Oct. 25th9IPThe seminar started with an opening address in Japanese by Yu Zhiqing, Vice
President of Television Production Committee China Alliance of Radio, FilmAnd Television, and brought together nine Chinese and Japanese content
holders to present their content business initiatives. The companies, eager todo business by utilizing IPs, spoke strongly to the packed audience, saying,"Cooperation between China and Japan, which both have wide ranges ofculture and entertainment, will lead to an increase in popular works and theexpansion of the global market.”

Seminar room

DAY-2 Oct. 26th(BL)Nine content sellers from Thailand participated in this seminar on BL (Boys' Love), which is rapidly gaining popularity around the world. Whilethe companies presented their products one after another, there was even a surprise appearance by a handsome actor. “We want to build astrong partnership with Japan, with whom we share some cultural similarities." The buyers were impressed by the diversity and originality ofthe drama and movie productions.

DRAGON BALLONE PIECE

THE FIRST SLAM DUNKIP

The company, which has been successful in the global market with titles such as DRAGON BALL, ONE PIECE, and more recently, THE FIRSTSLAM DUNK, had representatives from its offices in Japan, Los Angeles, Hong Kong, and Paris attend the seminar. There are three IP
business models, which are "overseas export (selling their own animation to overseas markets)," "Hollywood (producing in the U.S. andentering the global market)" and "local production for local consumption (collaborative production with local partners)". Their tirelessefforts to adapt to the culture and circumstances of each country are admirable.

DAY-2 Oct. 26th

CoMix Wave Films Inc., an animation production company that has been
involved with Makoto Shinkai's works for many years, and TOHO CO., LTD., thedistribution company, took to the stage to explain the details of the successful
global expansion of SUZUME and the advertising process. Many visitors
empathized with this message, stressing that "All animation companies need tocooperate with each other to convey Japanese animation content to theworld.”

IPbilibili

FUJI TELEVISION is taking on the challenge of content business innovation, and Executive Vice President, Toru Ota announced a new project
aimed at utilizing IPs overseas. The company has formed partnerships with three companies: Skybound, the U.S. multi-content company thatmade ‘The Walking Dead’ series a global hit; bilibili, one of China's largest video-streaming platforms and Kakao Entertainment, acomprehensive entertainment company in South Korea. The company has stated that it will continue to engage in global business covering all
aspects of the industry, including co-productions and tie-ins. The venue was filled with the press and standing audience, and the atmosphere
was enthusiastic throughout the event.

DAY-2 Oct. 26th2023

6From Italy, which signed the "Italy-Japan Film Co-Production Agreement"with the Japanese government in June 2023, the Italian Ministry of Culture
and executives from major Italian film companies and studios took to thestage. As hosts, young actors Sara Ciocca and Francesco Centorame
brought the stage to life dramatically. Lucia Borgonzoni, Undersecretary ofState for Culture, Italian Government, introduced attractive measures
such as a subsidy program aimed at expanding Italian-Japanese coproductions of films, as well as initiatives aimed at the next generation of
Italian film production. After the seminar, many Japanese participants
expressed their eagerness for further updates on the details of the subsidy
program. The seminar was followed by an exchange party attended by thespeakers, Italian producers, and Japanese film producers, where many
people involved in the film industry deepened their friendship and took a
big step toward the realization of Italian-Japanese co-production.

DAY-3 Oct. 27thMPADHU

TIFFCOMJr.

55Grand Prize

MPA
Special Recognition Prize
Visage Vault

The finale of the seminar was a popular event co-hosted by Motion Picture Associationof America (MPA), Digital Hollywood University (DHU), and TIFFCOM to encourage
young filmmakers who are looking to expand their work overseas. The first part of theevent was a "Master Class Seminar" featuring Niv Fichman, a world-renowned
producer of the film ‘The Red Violin’ and the drama ‘The Sympathizer’ starring Robert
Downey Jr. in conversation with filmmaker Ken Ochiai. Fichman told the students
studying filmmaking, "Believe in your passion. Be original. Take small steps, one at atime. Sometimes it is important to look at reality.” He got so excited about the talk thathe extended his time and exclaimed, “This (negotiation) is exactly what a producer
does!'' which excited the audience.
In the second part, the five young filmmakers who had qualified in the preliminary
rounds brought their original projects to the "Pitching Contest," where they had tomake a five-minute presentation in front of the jury to make the audience want to see
their film if it were made into a movie. The MPA Grand Prize went to Director Naoto
Tsukiashi for ‘Necro Eater Yataro’ a period drama about self-sacrificing love, while theSpecial Recognition Prize was awarded to ‘Visage Vault’ by Director Masaru Osaki, astory of a man torn between the virtual, the ideal and the real. The seminar ended on ahigh note of excitement and emotion, with a round of applause when each of thewinners received a study tour to Hollywood and Australia as extra prizes.

Voices from Participants
TIFFCOM

4TIFFCOM

Exhibitors’ Voices

TIFFCOM

In general, Buyers tend to choose either Busan International Film Festival or Tokyo International Film Festival at this time ofthe year and since the two festivals are held close to each other timewise, we often hear that if they cannot go to Busan, theywill attend Tokyo instead. Many Japanese buyers are concentrated in Tokyo this year, and I think TIFFCOM has become a densemarket. Many people commented that the venue was extremely clean, and the booths had a good sense of unity and openness. In
terms of business negotiations, we were able to introduce our works to many people. While meeting times were often scheduled
in advance, there were also individuals who dropped by on a whim, saying, “I was curious”, and engage in interesting
conversations, which was very rewarding. (Japanese Exhibitor)
As it was the first time in four years, everyone was enthusiastic, and as an exhibitor, I was highly motivated. Businessmeetings were so successful that the booths were always full, and we wished we had a larger booth. I think the trend among
exhibitors was the same. The floor itself was large and easy to see. The same categories were grouped close together, and fromthe visitor's point of view, it was easier to look around. However, because there were no walls, visitors might not want to be seen
visiting other booths as if they were cheating, but on the other hand, there were more walk-ins. (Japanese Exhibitor)

TIFFCOM is attractive because of its wide range of content, from visual to original works. It would be delighted if there were
festival-specific networking events on each floor. (Japanese Exhibitor)

We have been exhibiting at TIFFCOM for a long time, attending every year. The venue is good, the atmosphere is pleasant,and operations such as pass pick-up are smooth. It was good to have meetings with new clients as well as old ones. Generally,
there were many Japanese companies, and I was happy to have a lot of attendees. (Overseas Exhibitor)
I was impressed by the larger number of visitors compared to Seoul. I intend to participate every year if it is held again. Themost important thing is the result of business negotiations with customers, so I think TIFFCOM is very useful in that respect.
(Overseas Exhibitor)

WEB

44face to face

TIFFCOM

TIFFCOM

Visitors’ Voices

TIFFCOM

2Asia Contents Awards
TIFFCOM

The booths on all floors were thriving and felt reliable. We felt that it is very important to be able to communicate in person
for the first time in 4 years. In many business situations where I think the message can be conveyed in a web meeting, we are very
happy to see four floors of space where people can meet face to face, chat, and enjoy the atmosphere. The Toei Animation
seminar was excellent. It went beyond just reading a script and honestly shared both successes and struggles, conveying Toei
Animation’s proactive message for the future of content business as “Let’s work all together.” This holds significant meaning.
(Industry Association Staffs)
Having experienced major film festivals in Tokyo, Cannes and Busan, all of them feel fulfilling. I look forward to the continued
expansion of TIFFCOM (Producer)
I came without a specific buying decision. Just wandering around and exploring various booths is enjoyable, and the charm ofTIFFCOM lies in encountering films or projects that spark interest along the way. (Buyer, Distributor)
I live in South Korea and am attending TIFFCOM for the second time. I've been exploring information at various booths while
also searching for works that might be suitable for entry into the Asia Contents Awards. I feel that the results and the response I
have received have been positive, as I have been able to build networks. The advantages of the market lie in efficiently navigating
and sharing the same space. Places where people gather and accumulate information, and where information gathers, business
opportunities arise. There's a joy in meeting people in person at TIFFCOM whom I had previously only encountered through amonitor. (Film Festival Programmer, Journalist).

Voices from Participants

TIFFCOM, which focuses not only on the "selling" market but also on
the "producing" market, has established Japan's first original works(stories) market, Tokyo Story Market (TSM). Leading publishers(KODANSHA, KADOKAWA, SHUEISHA, and SHOGAKUKAN) held active
business negotiations with overseas producers looking for original
works (stories), including manga (Japanese comics) and novels forfilm and audiovisual adaptations, while promoting their own content.

TIFFCOMTokyo Story Market TSM)
KADOKAWATokyo Gap-Financing Market
15TGFM)At the 4th Tokyo Gap-Financing Market (TGFM), which provides
financing opportunities for film production, producers of 15 newprojects seeking to secure funding held individual meetings withdomestic and international investors. After three years of online
implementation, TIFFCOM was able to welcome everyone to the firstreal event, which was followed by a reception attended by nearly 100people. It was a very moving experience for everyone involved.

Tokyo Story Market (TSM) Exhibitors

Tokyo Story Market (TSM)

Interview with Yoshihiko Yamazaki and Yuki
Takamatsu, Global Licensing, Kodansha Ltd.

IPTIFFCOM
144IPAKIRATokyo Story Market

4TIFFCOM

The meeting schedule during the event was almost completely filled.
Production companies and producers from various countries
interested in Japanese IPs were more enthusiastic than we had
expected, and we were able to have good meetings with goodcompanies.
At overseas markets for original IP such as Busan and Berlin, manybusiness meetings are held with people from those countries, but eventhough TIFFCOM was held for the first time this year, people camefrom 14 countries and regions including China, Taiwan, and Italy, giving
the impression that it was more multinational than other markets.
Japan is a powerhouse for original works globally. Although only four
major companies participated in this year's event, we strongly believethat it would be a good opportunity for publishers who have not yet
focused on audiovisual adaptation overseas and IP holders who do nothave their own overseas divisions to connect with overseas markets.
We think it would be helpful to learn from Busan, which has volunteer
interpreters and a solid reservation system.
Each company has different characteristics and needs, but the stanceis to tell us interesting stories. In the U.S., popularity is concentrated on
big Japanese titles known worldwide, such as "Attack on Titan" and"AKIRA" but Taiwan, China, and Korea are more interested in youth
comics, mystery/suspense, and thrillers rather than fantasy and boy’s
comic.
Japanese publishers have had little expertise in overseas negotiations,and foreign countries have had the impression that it would be difficult
to partner with Japan, but the Tokyo Story Market will also function asa place to tell them that “Today’s Japanese companies are doing well.”
The venue was very spacious. We were only four companies this time,
so we were at the end of the floor, but our hope for the future is that
more companies will participate and we can make it a more lively areaon the floor. Regarding accessibility, it is a bit far from the eating andsightseeing spots for overseas guests. If we can fulfill their desire toenjoy Japan, which is a popular tourist destination, they may be more
inclined to come back to TIFFCOM next year.
We hope that the 2nd TSM will be held next year.

Tokyo Story Market

Tokyo Gap-Financing Market (TGFM) Organizers
Interview with Pascal Diot (Head of the Venice Production
Bridge) and Kenta Fudesaka (UNIJAPAN)

Tokyo Gap-Financing Market (TGFM)

TGFM

1( )

15
TGFM

Diot: The most remarkable thing is that this is the first TGFM that has been
held in person, and everything has changed! With the online event, it was justa meeting, but with the face-to-face event, we were able to see each other's
faces and reactions as we engaged in conversation, and even after thebusiness meeting was over, we continued talking and had opportunities tomeet again, and the whole process works as one cycle. Everything that wasimpossible online is now possible.
I have heard firsthand that both the exhibitors and the investors who brought
their projects were happy. The quality of the projects was high and themeetings themselves were used effectively. I’m not just offering compliments.
These are genuine praises I’ve heard directly from everyone. (laugh) The venue
is perfect with good accessibility.
Fudesaka: Investors consistently mention the diversity of projects, where 15
completely different projects have come together. In an environment whereinvestment in art house film projects is challenging, attention has focused on
the broad range of diversity in lineups, including commercial films, art-houseproductions, projects from various regions in Asia, and European projects. As
this was the first in-person event for TGFM, we were able to experiencefirsthand the high level of interest from many visitors.

Tokyo Gap-Financing MarketTGFM

THE THONGLOR KIDSTGFMTIFFCOMTGFM Selected Project THE THONGLOR KIDSInterview with Fran Borgia, Producer and Aditya
Assarat, Director
This is the second time for the producer to participate in TGFM,
following last year's online event, and the first time for thedirector. Business negotiations are going well. Direct two-way
communication was possible in person for this time, so theconversation was far livelier than in an online event. We hadmeetings with sales companies, film festivals, producers, film
commission, and many other genres, and it is always nice to get
to know new people. Even if we can't collaborate on one
project, we can work together on other projects.
Filmmaking is a demanding, so investors and producers arelooking for projects that they can be passionate andenthusiastic about. While such a project is essential, we alsoemphasize the importance of harmony with the people wewant to make the film with. You can never know the chemistry
and reactions unless you actually meet with them on an
individual and personal basis. We think the most wonderfulthing about TIFFCOM for foreign filmmakers like us is that itacts as a doorway to the Japanese film industry.

TGFM Investor Side Participant's Comments

TGFM
TGFM

TGFM
TIFFCOMTGFM was thriving with a diverse range of genres. I guess it's
more genre-based than art-house based. I didn't participate in theyear it was held online, but since it’s in-person this time, I attended.
In the online market, you have to have a mutual understanding ofeach other's goals to continue the conversation, but you can talkmore casually in the real market, so it is easier to come to themarket. There is a strong feeling of making connections andnetworking in the project market, so if you come to the market, youwill naturally network. I feel like we can meet again at different
markets and get to know each other better, which potentially leads
to business (roducer).
I have reached an agreement with a director I met online lastyear and would like to enter his work in some film festival andexpand overseas. There are many overseas companies at TGFM thatwould like to make films in Japan, so I recommend the Japan Film
Commission to them. The Japan Film Commission has a booth at
TIFFCOM, and I think it is a great opportunity to give direct advice tointernational producers (Sales Agent)Parties and Exhibitor events
TIFFCOM

For Money

BL4

CEORunA grand "Welcome Party" was held for visitors and related parties on the first night, where TIFFCOM CEO Yasushi Shiina gave a speech andproposed a toast, which was followed by lively conversations. It was an exciting evening that made us realize the importance ofencounters and connections between people.
The Taiwan Pavilion featured four actors from popular BL dramas in the exhibit hall. In addition, Hunters from Fuji Television's popularvariety show ‘Run For Money’ made a surprise appearance, and NNS (Nippon Television Network System) gave away local specialties fromeach station to visitors. Both exhibitors and visitors seemed to enjoy the elaborate "OMOTENASHI” (hospitality) provided.

TIFFCOM 2023
On-site coverage