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As autumn paints the Japanese capital in gold and crimson, the city readies itself for a grand cinematic celebration. From October 27 to November 5, 2025, the 38th Tokyo International Film Festival (TIFF) will unfurl across the blue skies — transforming Tokyo into a bustling hub of screenings, panels, lounges, markets, and encounters that bridge the globe.
Under the visionary leadership of Chairman Ando Hiroyasu and Programming Director Ichiyama Shozo, this year’s edition signals more than continuity; it’s a declaration of intent. With its emphasis on global exchange, female empowerment, and cross-cultural collaboration, TIFF is cementing its place as Asia’s most dynamic festival — one that mirrors both Tokyo’s cosmopolitan pulse and Japan’s creative evolution.
And for Indian filmmakers and cinephiles, the excitement runs deeper. In recent years, films such as Lipstick Under My Burkha, Vikram Vedha, Bioscopewala, Churuli, and Sumo Didi have found appreciative audiences in Tokyo. Undeniably, the bridge between Indian cinema and Japan is growing sturdier than ever.
This year the festival opens with Sakamoto Junji’s Climbing for Life and closes with Chloé Zhao’s Hamnet — two thematically aligned yet stylistically distinct films that set the emotional tone of the event. Programming Director Ichiyama Shozo explains the rationale: “Climbing for Life chronicles the inspiring story of a real-life female mountaineer and her devoted family. With a remarkable lead performance by Yoshinaga Sayuri and meticulous direction by director Sakamoto Junji, this film earns a place as one of the year’s most touching films. I am confident that its universal themes will deeply move audiences across the globe.”
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For the closing gala, Ichiyama adds, “Hamnet, featuring a notable historical figure, powerfully portrays love and loss from a female perspective, making the themes universally relatable to contemporary audiences. It stands as one of the year’s most remarkable films and is a masterpiece truly worthy of closing this year’s TIFF.”
The choice of these films is symbolic — not only do both center on women’s journeys, but they also mark the festival’s sustained focus on female narratives. Between them lies Yamada Yoji’s Tokyo Taxi, the Centerpiece film, also anchored in a woman’s story. TIFF, in essence, is scripting an entire festival arc around the resilience, creativity, and complexity of women’s lives.
At a recent press conference, Chairman Ando Hiroyasu reaffirmed TIFF’s commitment to international exchange — something the festival has been refining since moving its main venue from Roppongi to Hibiya in 2021. “Strengthening international exchange has always been a theme we have worked on,” Ando said. “This year, we aim to further enhance the talks and parties at the TIFF Lounge, co-presented by the Japan Foundation, which TIFF has established as a hub for exchange.”
The TIFF Lounge will once again become the heartbeat of the festival — hosting panels, talks, and parties that bring together filmmakers, producers, and critics from across continents. And for the first time since the pandemic, the closing party returns after five long years, restoring the festival’s convivial social spirit. The intent is clear: TIFF wants to go beyond being a showcase and become a living marketplace of ideas, where collaborations are born over sake and scripts, and where Asia speaks to the world as an equal cinematic force.
One of the most notable evolutions in TIFF’s recent trajectory has been the establishment of its Women’s Empowerment Section, now entering its second year. Launched to address gender disparity in global cinema, the section features films and symposiums focused on women’s stories and the social structures surrounding them. Ando notes: “Celebrating its second edition, we will again screen various films focusing on women’s stories and hold several symposiums. I would also like to mention that the opening film Climbing for Life (directed by Sakamoto Junji), the centerpiece Tokyo Taxi (directed by Yamada Yoji), and the closing film Hamnet (directed by Chloé Zhao) all focus on women’s lives. This year’s lineup reinforces that mission, creating a cohesive narrative of empowerment and emotional intelligence — a gesture that transcends curation and becomes a festival-wide statement.”
For India, where similar conversations are shaping film festivals in Goa, Mumbai, Kolkata, and Kerala, TIFF’s example offers valuable insight: how to weave gender balance into the fabric of programming and not just the periphery.
Among this year’s headline events is the Japanese premiere of Paul Schrader’s Mishima: A Life in Four Chapters — a remarkable fact considering that the film was made forty years ago. The decision is perfectly timed: 2025 marks the 100th birth anniversary of writer Yukio Mishima, one of Japan’s most enigmatic literary figures. As Ando explains, “We received a request from the film’s production company, and this year marks the 100th anniversary of birth of Yukio Mishima and to celebrate it, we have planned a special screening of classic films related to Mishima and as one of them, we decided to screen Mishima: A Life in Four Chapters.”
The inclusion of Mishima — an American-Japanese collaboration long admired internationally but unseen in Japan — is emblematic of TIFF’s growing confidence. It embraces both cinematic history and cultural diplomacy, unafraid to bridge artistic sensitivities and historical complexities.
Alongside the festival, TIFFCOM, the affiliated content market, continues to expand its reputation as one of Asia’s most vibrant networking hubs. Managing Director Ikeda Kaori highlights its unique appeal: “TIFFCOM is characterized by the participation of many film industry professionals, large booths set up by Japanese TV stations, and numerous exhibitors of Japanese animation, bringing together a diverse range of content.”
Beyond traditional buying and selling, TIFFCOM now emphasizes international co-productions, book adaptation rights for manga and novels, and remake rights for video content. With each passing year, more producers and distributors come seeking cross-border collaboration. As Ikeda puts it, “TIFFCOM is increasingly attracting attention as a network hub for international production and content business.” For Indian producers and OTT players, this represents fertile ground. Japan’s booming animation sector, its appetite for cross-Asian co-productions, and its respect for narrative originality make TIFFCOM a platform ripe for collaboration.
Since assuming the chairmanship, Ando Hiroyasu has guided TIFF through strategic reforms — shifting venues, refreshing programming leadership, and enhancing audience outreach. But as he candidly admits, “We are still far from our ideal state and need to aim even higher.” That humility, paired with ambition, defines the Tokyo festival’s current moment. TIFF is not competing to be another Cannes or Berlin; it’s carving out its own identity — as a festival of ideas, empathy, and Asian modernity.
For India’s filmmakers, the alignment is natural. Both nations are navigating rapid change — social, digital, and artistic. And just as Indian films are finding resonance in Tokyo, Japanese cinema’s aesthetic of restraint and emotion continues to inspire Indian storytellers seeking subtlety over spectacle.
When the lights dim on opening night and Climbing for Life begins its ascent on the big screen, it will mark not just the start of another edition, but the renewal of a conversation: between Japan and the world, between cinema and conscience. TIFF’s evolution — from a young festival with promise to a maturing Asian powerhouse — reflects Tokyo’s own spirit: ever forward, deeply rooted, and open to the world. And for Indian readers and movie lovers, the 38th TIFF is more than a distant headline. It’s a mirror — reminding us that in the shared language of cinema, our stories, struggles, and triumphs are never too far apart.
AloJapan.com