TIFFCOM Sells Out as Japanese Producers Expand Partnerships

By Elena Vasquez

How is TIFFCOM changing?

More than 4,600 industry professionals from 46 countries and regions attended last year’s TIFFCOM at the Tokyo International Film Festival, a 13% increase, and the market space sold out early this year, according to managing director Ikeda Kaori. Ikeda said more Japanese producers now use the Tokyo market to find partners while projects remain in development. She credited global interest in Japanese content for part of the 13% rise.

“Beyond the traditional trading of completed content, TIFFCOM has increasingly evolved into a platform for finding partners from the project development stage, leading to a significant increase in participation by Japanese producers,” Ikeda said.

Ikeda said Tokyo IP Market now has 10 participating IP holders and has added toys among its categories. The pitch format has also changed. Each company now gives a focused pitch on its flagship IP. At the same time, Ikeda described Asia as one of the world’s largest markets and said governments across the region actively support their content industries.

More Japanese producers now enter TIFFCOM before their projects are complete.

How did Cannes change the pitch?

TIFFCOM expanded to the Cannes Film Market this year, where more than 700 people registered for pitches, panels and related programs drawing an audience mostly from Europe and Hollywood. Participating IP holders held a series of meetings with partners they rarely see in person. Ikeda said an initiative proposed by the Cannes market also arranged matchmaking with the XR sector.

“IPs with an established audience, including ‘One Piece’ and ‘Super Mario,’ are undoubtedly attractive. On the other hand, Japan still possesses a great number of outstanding original works with strong potential for screen adaptations and remakes, and Tokyo IP Market is designed as the platform to discover them,” Ikeda said.

Ikeda added that many producers want to adapt or distribute distinctive stories that are not yet well known. Each market retains its own scale and audience.

Cannes gives lesser-known Japanese projects access to buyers beyond familiar franchises.

What is TGFM financing this year?

The Tokyo Gap-Financing Market (TGFM) has 24 live-action and animation projects this year and has teamed with Canadian genre outfit Frontières. Ikeda singled out Japan, Thailand and Indonesia as Asian markets standing out for horror and thrillers.

“Horror in particular is often deeply rooted in local culture and traditions, making it naturally unique while offering exceptional entertainment value,” Ikeda said.

Ikeda said TGFM wants genre finance to widen the mix of projects and filmmakers at the market. It also seeks a route for Asian projects into North America. Two projects developed through TGFM now appear at this year’s Tokyo International Film Festival, including The Violinist, a 2023 participant that won the top prize at Annecy this year.

Ikeda understands that Italian financing for The Violinist and Thai financing for Four Seasons in Java both arose from connections made at TIFFCOM.

“As a gap financing market, the primary goal is the completion of the film, and being selected for film festivals is a major initial bonus,” Ikeda said.

TGFM is turning introductions into financed projects with festival recognition.

How are broadcasters and anime studios expanding?

Japanese broadcasters feature prominently in this year’s conference program, with TBS, Nippon TV and TV Tokyo presenting partnerships, global strategies and overseas IP case studies. TBS will present its partnership with Legendary Entertainment and the worldwide rollout of Sasuke, known overseas as Ninja Warrior. Nippon TV will discuss a global strategy that includes a South Korean co-produced drama. In a session run by the Broadcast Program Export Association of Japan (BEAJ), TV Tokyo will present a case study on taking IP overseas through experiential exhibitions.

“While terrestrial TV remains strong in Japan, all broadcasters are actively accelerating their global initiatives. Japanese broadcasters have always been a treasure trove of powerful IP, including formats and dramas,” Ikeda said.

For anime studios seeking international partnerships, Ikeda identifies hesitation born from limited international experience as the largest obstacle to building co-production networks.

“While language and cultural differences exist, the core issue is a shortage of talent with experience in international co-production, which in turn leads to a lack of established networks. On the flip side, however, this means there is immense room for growth,” Ikeda said.

Ikeda said TIFFCOM is hosting a conference on international anime co-production. Experts will address project structuring and financing.

Broadcasters now treat overseas distribution as a central strategy, while anime partnerships remain constrained by limited experience.

How are short-form drama and AI entering the market?

Short-form drama is growing fast in Japan, while participation from AI and data analytics companies rises steadily, according to Ikeda. Another conference examines trends in Japanese content through data, with AGBO delivering this year’s keynote.

“In such a fast-moving environment, what holds true value is first-hand insights into how AI is being used at the cutting edge,” Ikeda said.

TIFFCOM also wants to explore using AI in its own operations. Beyond Japan, Ikeda’s wider program includes Taiwanese project showcases, Chinese content presentations and TIFFCOM co-production discussions involving Brazil, Canada and Japan.

Data expertise and AI use now sit inside TIFFCOM’s core market agenda.

Can TIFFCOM become a hub for Asia?

Ikeda sees no conflict between TIFFCOM’s position as the main marketplace for Japanese content and its ambition to become a hub for Asia. She regards these roles as two essential pillars.

“Southeast Asia in particular is experiencing rapid growth in both economic strength and production capabilities, alongside rising demand for Japanese content. As buyers in each country grow their domestic businesses, their opportunities to acquire Japanese content will also expand,” Ikeda said.

Ikeda does not want TIFFCOM confined to one next area. Instead, she wants the market to keep adapting as trends and formats change, while adding partnerships with other markets and events. “The content industry five years from now holds so much potential that it cannot yet be defined – and that is precisely what makes it so exciting,” she said.

For TIFFCOM, the next test is whether new partnerships produce completed films, the primary goal Ikeda sets for gap financing.