The Far East Film Festival, whose
eighth edition has just concluded, makes its intentions clear right
from the start: in fact it presents itself as the biggest festival
of mainstream cinema from Asia.
In Udine, in the North-Eastern part of Italy, it is therefore possible
to become acquainted with the films that spectators from countries
ranging from Korea to Hong Kong, from China to Thailand, have seen
on the big screen, especially during the year that has just finished.
This means that there are not many so-called “festival films”
but rather those that were actually screened in cinemas. Because
of this strategy, the Udine competition also offers a unique opportunity
for understanding cinema trends not only in the creative and production
field, but also from a commercial point of view on markets that
boast the world’s highest growth rates. Amongst the countries
whose present position was best represented from a quantitative
point of view at the last FEFF is Japan, present in Udine with eight
titles competing. On the podium, too, Japanese cinema took the lion’s
share: whilst not winning the audience’s award (which went
to the Korean Welcome to Dongmakgol), four of its films
occupied the top eight positions.
Tokitoshi Shiota, director of the Yubari festival, devoted to fantasy
films, helps us to understand what these titles represent in terms
of the offer of films in the Land of the Rising Sun.
Japan did not escape the phenomenon that marked cinema-going more
or less throughout the world in 2005, i.e. the drop in audiences.
There, however, the decrease compared to 2004 was limited to 6%
and total admissions in 2005 (around 160.5 million) were basically
in line with those of the past five years. The year that has just
ended has nonetheless established an important record: the market
share of domestic films has risen to above 40% (precisely 41.3%),
something that had not happened since 1997.
“Japanese productions – comments Tokitoshi Shiota –
have concentrated on films capable on the one hand of drawing a
young audience – i.e. the “core” of the spectators
– and, on the other, the over-sixties, or those who now have
time and money to spend and, above all, have retained the idea that
films are to be seen at the cinema rather than at home”. If
the former type of production is influenced by the sort of popular
culture that has gained a foothold in various sectors, starting
from music and comprising strip cartoons, the latter touches on
topics drawing on life experience and also history. Here a significant
case is the success of Otoko-tachi no Yamato, the film
produced by Toei, set against the background of the Second World
War and using vast resources to narrate the adventures of the young
sailors who embarked on the Yamato, the warship launched a few days
after the attack on Pearl Harbour, the heart of Japan’s war
strategy in the Pacific Ocean, and which was sunk in 1944 by an
American bomb attack that caused almost three thousand deaths. The
film Always – Sunset on Third Street – the second favourite
with audiences in Udine – is instead linked to the trend of
youth culture. “Not only is the source a manga that appeared
for the first time in 1973 and continues to be published, but the
director comes from television, where he worked on a highly popular
series. Moreover, – continues Shiota – it is no coincidence
that the film was produced by Toho, a company whose strong point
is computer graphics: Always succeeds in painting a finely-detailed
fresco of Tokyo in the ‘Fifties – showing us a lifestyle
miles away from that of the modern metropolis – using technology
usually adopted for science-fiction films”.
Again inspired by mangas, of the type produced “for girls”,
is another of the films most widely seen by the Japanese in 2005,
and equally appreciated at Udine: this is Nana, a film
about female friendship, which brought around 30 million euro into
Japan’s box offices. Instead Shinobi, which takes
its story from a novel, seems to be closer to the language of videogames,
whilst Siren, a success at the beginning of 2006, is a
horror story which makes explicit reference to a game by Sony Computer
Entertainment. A successful tv crime series (Bayside Shakedown)
is behind “national-popular” productions for the cinema
which have resulted in films like The Negotiator and The
Suspect, making a grand contribution to the increase in the
market share of Japanese films. And although, apart from Howl’s
Moving Castle – an enormous success at home and with
excellent results on the international market – not many have
been seen outside Japan, Shiota is fairly optimistic about the future
of Japanese cinema: “since 2000 our productions for theatrical
release have increased in terms of numbers and quality. To boost
cinema-going new ideas are needed: in this regard I think there’s
a very positive trend in Japan. And though it’s true that
Japanese films with Japanese actors do not easily travel abroad,
I still think there’s going to be an increase in sales of
the rights for remakes”.
Even if no-one dares admit it openly, everyone in the industry toys
with the idea that Japanese cinema, which seems to have managed
to set itself up as interpreter of the content and forms of popular
youth culture, may succeed in the same achievement as music, where
so-called jpop has succeeded in undermining foreign supremacy.
Elisabetta Brunella