Check out the latest Midnight Eye update, featuring the Best (and Worst) Japanese films of 2009. Don't forget to vote and comment on your favourites, too.
Also included is an interesting interview with documentary filmmaker Tokachi Tsuchiya whose film A Normal Life, Please! (Futsû no Shigoto ga Shitai, 『フツーの仕事がしたい』) ranks on several of our lists.
Friday, January 29, 2010
Thursday, January 28, 2010
Japan Box Office 2009
Just a quick link to my 2009 box office summary that went up earlier today on Screendaily.com (Note: above URL fixed to link to newer version of my box office story somewhat reworked by London bureau).
The original piece was much longer but filing news to editors is not blogging, obviously. Here are some extra facts, figures and thoughts.
- The Y117.31b that Japanese films amassed in 2009 represents the highest total ever for homegrown releases, though that's based on earnings from 448 releases -- a sharp increase from 2008's 418 titles (less earnings on average per film -- though it's only a small percentage of releases that take the biggest share anyway).
- Don't forget that the total number of Japanese films released includes pinku eiga as they are pubically exhibited in 35mm. Pink films accounted for approximately 52 of the total 448 J-films released. This does not include another 83 older films that were retitled and re-released -- a very common industry practice. The number of new productions is decreasing every year.
- Particularly noticeable in the decrease of foreign releases was a drop in Korean imports from 55 to 23. Distributor SPO, which traditionally acquired a lot of Asian titles, severely scaled back its buying while other companies simply disappeared or pulled out of film production (this overview of mine from October touches on most of it). More companies look to fold this year.
Update: A matter of hours after I wrote this, news came in of Cine Qua Non's filing for bankruptcy protection. I covered it for Screen today here. CQN was one of the companies I hinted at way back in August '09 in my "Japanese Film Biz Feeling the Heat..." entry.
- Sony Pictures had its best year ever in the territory at $216.18m (Y19.55b), easily breaking its own 2007 record of Y16.2b. In addition to top ten releases Michael Jackson's This Is It and 2012, mid-range hits Quantum Of Solace, Angels & Demons, and Terminator Salvation enhanced revenues though the two latter sequels earned far less than their predecessors.
- Nationwide screen count increased 1.1% to 3396, slowing from a typical 3.6% year-on-year construction rate throughout the rest of last decade. Although China's market still grosses only about half of what Japan's does, its massive year-on-year box office expansion (a 44% & 600 screen increase in 2009!) is what HW is watching.
- Video industry revenues (rental and sales) continued to plunge year on year, falling by 9.7% to $3.61b (Y326.1b) on 686 million customers transactions.
The article only contained the overall Top 10 (Top 11 actually since WALL·E and Evangelion: 2.0 You Can (Not) Advance tied). Domestic winners were as follows.
Top Grossing Domestic Films
Title Distrib Gross
1. Rookies (TBS) Toho $94.55m (Y8.55b)
2. Departures (TBS)* Shochiku $71.21m (Y6.44b)
3. Pokémon: Arceus and the Jewel of Life Toho $51.64m (Y4.67b)
4. 20th Century Boys: The Last Chapter – Our Flag Toho $48.77m (Y4.41b)
5. Evangelion: 2.0 You Can (Not) Advance Klockworx/Khara $44.23m (Y4b)
6. Amalfi (Fuji TV) Toho $40.36m (Y3.65b)
7. Detective Conan: The Raven Chaser Toho $38.7m (Y3.5b)
8. Gokusen: The Movie (NTV) Toho $38.48m (Y3.48b)
9. April Bride (TBS) Toho $34.83m (Y3.15b)
10. Yatterman (Nikkatsu) Nikkatsu-Shochiku $34.72m (Y3.14b)
11. Crows Zero II (TBS) Toho $33.4m (Y3.02b)
* September 2008 release, earned Y3.44b in 2010
1 USD = 90.4321 JPY
The original piece was much longer but filing news to editors is not blogging, obviously. Here are some extra facts, figures and thoughts.
- The Y117.31b that Japanese films amassed in 2009 represents the highest total ever for homegrown releases, though that's based on earnings from 448 releases -- a sharp increase from 2008's 418 titles (less earnings on average per film -- though it's only a small percentage of releases that take the biggest share anyway).
- Don't forget that the total number of Japanese films released includes pinku eiga as they are pubically exhibited in 35mm. Pink films accounted for approximately 52 of the total 448 J-films released. This does not include another 83 older films that were retitled and re-released -- a very common industry practice. The number of new productions is decreasing every year.
- Particularly noticeable in the decrease of foreign releases was a drop in Korean imports from 55 to 23. Distributor SPO, which traditionally acquired a lot of Asian titles, severely scaled back its buying while other companies simply disappeared or pulled out of film production (this overview of mine from October touches on most of it). More companies look to fold this year.
Update: A matter of hours after I wrote this, news came in of Cine Qua Non's filing for bankruptcy protection. I covered it for Screen today here. CQN was one of the companies I hinted at way back in August '09 in my "Japanese Film Biz Feeling the Heat..." entry.
- Sony Pictures had its best year ever in the territory at $216.18m (Y19.55b), easily breaking its own 2007 record of Y16.2b. In addition to top ten releases Michael Jackson's This Is It and 2012, mid-range hits Quantum Of Solace, Angels & Demons, and Terminator Salvation enhanced revenues though the two latter sequels earned far less than their predecessors.
- Nationwide screen count increased 1.1% to 3396, slowing from a typical 3.6% year-on-year construction rate throughout the rest of last decade. Although China's market still grosses only about half of what Japan's does, its massive year-on-year box office expansion (a 44% & 600 screen increase in 2009!) is what HW is watching.
- Video industry revenues (rental and sales) continued to plunge year on year, falling by 9.7% to $3.61b (Y326.1b) on 686 million customers transactions.
The article only contained the overall Top 10 (Top 11 actually since WALL·E and Evangelion: 2.0 You Can (Not) Advance tied). Domestic winners were as follows.
Top Grossing Domestic Films
Title Distrib Gross
1. Rookies (TBS) Toho $94.55m (Y8.55b)
2. Departures (TBS)* Shochiku $71.21m (Y6.44b)
3. Pokémon: Arceus and the Jewel of Life Toho $51.64m (Y4.67b)
4. 20th Century Boys: The Last Chapter – Our Flag Toho $48.77m (Y4.41b)
5. Evangelion: 2.0 You Can (Not) Advance Klockworx/Khara $44.23m (Y4b)
6. Amalfi (Fuji TV) Toho $40.36m (Y3.65b)
7. Detective Conan: The Raven Chaser Toho $38.7m (Y3.5b)
8. Gokusen: The Movie (NTV) Toho $38.48m (Y3.48b)
9. April Bride (TBS) Toho $34.83m (Y3.15b)
10. Yatterman (Nikkatsu) Nikkatsu-Shochiku $34.72m (Y3.14b)
11. Crows Zero II (TBS) Toho $33.4m (Y3.02b)
* September 2008 release, earned Y3.44b in 2010
1 USD = 90.4321 JPY
Wednesday, January 13, 2010
Shimazu Yasujiro Films To Screen in Berlin and Hong Kong
As mentioned in my TOKYO FILMeX wrap up article for Screen, a portion of the Nippon Modern: 1930s programme (details here) was in negotiations to travel overseas. Then news came in yesterday about where and which films would be shown (had to withold the locations in my tweet).
The traveling collection will focus on the films of Shimazu Yasujirô. Three titles will be shown at the 40th edition of the Berlinale Forum as part of the 60th anniversary of the Berlin International Film Festival (February 11-21). Additionally, six titles will be screened at the Hong Kong International Film Festival (March 21 - April 6).
Berlin will screen:
The Lights of Asakusa (Asakusa no Tomoshibi, 『浅草の灯』)
The Trio's Engagement (Konyaku Sanbagarasu, 『婚約三羽烏』)
So Goes My Love (Ai yori Ai e『愛より愛へ』)
HKIFF will screen:
First Steps Ashore (Jôriku Dai-Ippo, 『上陸第一歩』)
Our Neighbor Miss Yae / The Girl Next Door (Tonari no Yae-chan,『隣の八重ちゃん』)
Okoto and Sasuke (Shunkinshô Okoto to Sasuke, 『春琴抄 お琴と佐助』)
The Lights of Asakusa (Asakusa no Tomoshibi, 『浅草の灯』)
The Trio's Engagement (Konyaku Sanbagarasu, 『婚約三羽烏』)
So Goes My Love (Ai yori Ai e『愛より愛へ』)
Here are comments on Shimazu's work from programming directors at both events:
Christoph Terhechte (The International Forum of New Cinema) Director
Shimazu's films are not only testimonials of an era of social changes and
modernization. Their unpretentious, low-key style and unobtrusive
storytelling are also an embodiment of those changes. The modernity and
lucidity of Shimazu's oeuvre is still surprising today, and the ways his
characters deal with conflicts between tradition and westernization remain
as touching as ever.
Jacob Wong (Hong Kong International Film Festival) Programmer
Shimazu makes delicious mincemeat of the decline of the traditional family
while eyeing modern romantic relationships with detached amusement.
Delightful portraits give way to larger-than-life passions when his subject
matters are literary or when his characters are artists. Shimazu's depth and
scope, his daring and stamina to be altering, take us on an amazing voyage
on the happiness of creation.
I enjoyed all the Shimazu titles I saw, particularly the tragic melodrama of Okoto and Sasuke and the ultra-modern So Goes My Love (apparently the first Japanese film to be set in a manshon / apartment).
The programs of classic Japanese cinema TOKYO FILMeX has worked so hard to assemble have traveled in previous years as well. It's great to see the tradition continue.
The traveling collection will focus on the films of Shimazu Yasujirô. Three titles will be shown at the 40th edition of the Berlinale Forum as part of the 60th anniversary of the Berlin International Film Festival (February 11-21). Additionally, six titles will be screened at the Hong Kong International Film Festival (March 21 - April 6).
Berlin will screen:
The Lights of Asakusa (Asakusa no Tomoshibi, 『浅草の灯』)
The Trio's Engagement (Konyaku Sanbagarasu, 『婚約三羽烏』)
So Goes My Love (Ai yori Ai e『愛より愛へ』)
HKIFF will screen:
First Steps Ashore (Jôriku Dai-Ippo, 『上陸第一歩』)
Our Neighbor Miss Yae / The Girl Next Door (Tonari no Yae-chan,『隣の八重ちゃん』)
Okoto and Sasuke (Shunkinshô Okoto to Sasuke, 『春琴抄 お琴と佐助』)
The Lights of Asakusa (Asakusa no Tomoshibi, 『浅草の灯』)
The Trio's Engagement (Konyaku Sanbagarasu, 『婚約三羽烏』)
So Goes My Love (Ai yori Ai e『愛より愛へ』)
Here are comments on Shimazu's work from programming directors at both events:
Christoph Terhechte (The International Forum of New Cinema) Director
Shimazu's films are not only testimonials of an era of social changes and
modernization. Their unpretentious, low-key style and unobtrusive
storytelling are also an embodiment of those changes. The modernity and
lucidity of Shimazu's oeuvre is still surprising today, and the ways his
characters deal with conflicts between tradition and westernization remain
as touching as ever.
Jacob Wong (Hong Kong International Film Festival) Programmer
Shimazu makes delicious mincemeat of the decline of the traditional family
while eyeing modern romantic relationships with detached amusement.
Delightful portraits give way to larger-than-life passions when his subject
matters are literary or when his characters are artists. Shimazu's depth and
scope, his daring and stamina to be altering, take us on an amazing voyage
on the happiness of creation.
I enjoyed all the Shimazu titles I saw, particularly the tragic melodrama of Okoto and Sasuke and the ultra-modern So Goes My Love (apparently the first Japanese film to be set in a manshon / apartment).
The programs of classic Japanese cinema TOKYO FILMeX has worked so hard to assemble have traveled in previous years as well. It's great to see the tradition continue.
Friday, January 01, 2010
Happy New Year! / Akemashite Omedetou Gozaimasu!
It's now 2010 in Japan. The first time I came to this country was in 1998 -- also the Year of the Tiger -- so things have come full circle for me in a way.
2009 had its highlights: my writing on film appeared in a wider range of publications; I was a selection committee member for Skip City International D-Cinema Festival; I joined Tokyo Project Gathering with Max Mannix's Family Matters project (will post some good news about that soon); translated a couple big movies; began an association with an up and coming agency; hit Hong Kong, Taipei, Bali and Toronto; spent a lot more face-time with friends and colleagues. Even rescued a kitten from an alley in the local red-light district -- she's grown into a fine feline.
2010's arc is already taking shape, with a few jobs keeping me busy until spring. More screenwriting it looks like, too.
The blog will probably continue at this more leisurely pace, which I prefer. The form feels very 2006. Twitter is all right but lately I tend to tweet and leave.
Thanks to all the people I collaborated with and had a laugh with in '09. All the best for the earth's next revolution!
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