Japanese Film Matchmaking 2021

About Japanese Film Matchmaking Japanese Film Matchmaking について

JAPANESE FILM MATCHMAKING is an initiative organized by the Agency for Cultural Affairs, Government of Japan, to expand opportunities for the programming of Japanese films. JFM facilitates business meetings of Japanese film rights-holders with potential curators and buyers worldwide. Collaboration with National Film Archive Japan will strengthen networking efforts with cinematheques overseas.

Focus on Retrospectives and Film Programs

Interested in running a Japanese film program, but not sure who the rights-holders are or where the screening copies are? Why not talk directly to Japanese film rights owners to see what film packages they are offering? During key film markets, matchmakers will arrange one-on-one meetings between companies presenting film packages and film programmers from around the world.


Japanese Film Matchmakingは、日本の映画セールス会社と世界のキュレーターやバイヤーとの出会いの場をつくり、日本映画の上映機会を拡大することを目的とした文化庁事業「日本映画海外展開強化事業」の取組のひとつです。


Programs offered at Cannes Marché du Film 2021 日本映画の特集企画案@カンヌ マルシェ・ドゥ・フィルム2021

At the Marché du Film 2021, instead of hosting physical meetings we have compiled a slate of new film programs on offer, including recently digitally remastered classics presented by the National Film Archive of Japan.
Please contact the sales companies directly or inquire here for more information.


Matchmaking meetings at EFM 2021 マッチメイキング・ミーティング@EFM2021

Six Japanese film companies and eleven cinematheques took part in online business meetings (3/3 - 3/5/2021) organized by Japanese Film Matchmaking during Berlinale’s European Film Market. The focus was on Japanese classic catalogues.


そこで、2020年度、第一回目のJapanese Film Matchmakingでは、「クラシック映画の特集上映」をテーマとして、ベルリンEFM2021にて、海外のシネマテークと日本の映画会社のオンライン個別ミーティングを仲介しました。このプログラムには、日本から映画会社6社、海外から11のシネマテークが参加しました。​​

Programs offered at EFM 2021
Participating Cinematheques(11 institutions from 9 countries)
  • Arsenal -Institute for Film and Video Art (Germany)
  • Asian Film Archive (Singapore)
  • Broadway Cinematheque (Hong Kong)
  • EYE Film Museum (The Netherlands)
  • Institute of Contemporary Arts ICA (UK)
  • Instituto Moreira Salles (Brazil)
  • Japan Society (USA)
  • Singapore Film Society (Singapore)
  • Swedish Film Institute (Sweden)
  • Tretyakov Gallery (Russia)
  • Zeughauskino (Germany)
  • Arsenal -Institute for Film and Video Art(ドイツ)
  • Asian Film Archive(シンガポール)
  • Broadway Cinematheque(香港)
  • EYE Film Museum(オランダ)
  • Institute of Contemporary Arts ICA(イギリス)
  • Instituto Moreira Salles(ブラジル)
  • Japan Society(アメリカ)
  • Singapore Film Society(シンガポール)
  • Swedish Film Institute(スウェーデン)
  • Tretyakov Gallery(ロシア)
  • Zeughauskino(ドイツ)

Online conference held during Berlin EFM (European Film Market) (March 3-5, 2021)


Webinars ウェビナー

Online webinars on informative topics encouraged industry professionals worldwide to look into a largely overlooked cinema and inspired Japanese film companies seeking new markets for their classics catalogues. During Berlin EFM 2021, two webinars were made available online.


Webinar is no longer available ウェビナーの公開は終了しました

Webinar.1“Retrospective Traveling Theaters” ウェビナー.1「特集上映・巡回上映 現状と展望」

Available until 20th March 2021


▼ Guest Speakers
​Tom Vick (Curator of Film at Smithsonian Institution, Freer and Sackler Galleries)
Akira Tochigi (film archivist)
Moderator :Yuri Kubota
An experienced film curator and a professional archivist talk about how to effectively plan a tribute program and the challenges of programming Japanese films.
(duration: 45 min)
▼ ゲスト・スピーカー
​トム・ヴィック⽒ (スミソニアン博物館フィルム・キュレーター)
とちぎ あきら氏 (フリーランス・フィルムアーキビスト)
司会:久保田 ゆり

Webinar.2“Classic Films Go Online” ウェビナー.2「配信ビジネスにおけるクラシック映画の可能性」

Available until 20th March 2021


▼ Guest Speakers
Markus Duffner (Head of Locarno Pro)
Taku Kato (International Sales, Nikkatsu)
Anette Dujisin (FILMIN Portugal)
Moderator :Asako Fujioka(Yamagata International Documentary Film Festival)
The COVID-19 pandemic struck a devastating blow to film industries worldwide, while subscription VoD operators flourished. Speakers discuss whether a global online market can open new avenues for Japanese film.
(duration: 52 min)
▼ ゲスト・スピーカー
​マーカス・ドゥフナー氏 (ロカルノ国際映画祭ロカルノ・プロ)
加藤 拓氏 (日活株式会社)
アネット・ドゥイシン氏 (フィルミン・ポルトガル)
司会:藤岡 朝子(山形国際ドキュメンタリー映画祭)
Tom Vick トム・ヴィック

Tom Vick is the curator of film at the Freer and Sackler Galleries, the Smithsonian Institution’s National Museum of Asian Art. Formerly Vick was the coordinator of film programs at the Los Angeles County Museum of Art. He has worked as a consultant for the International Film Festival Rotterdam and served on the juries of the Korean Film Festival in Los Angeles, the Fantasia Film Festival in Montreal, Filmfest DC, and the Smithsonian African-American Film Festival. He has contributed essays to World Cinema Directory: Japan, Film Festival Yearbook, Asian Geographic, and other publications. He is the author of Asian Cinema: A Field Guide (2008) and Time and Place are Nonsense: The Films of Seijun Suzuki (2015).

​スミソニアン博物館群のひとつである国立アジア美術館、フリーア&サックラー・ギャラリーのフィルム・キュレーター。ロサンゼルス・カウンティ美術館の映画プログラム元コーディネーター。ロッテルダム国際映画祭のコンサルタントのほか、ロサンゼルスの韓国映画祭、モントリオールのファンタジア映画祭、フィルムフェストDC、スミソニアン・アフリカン・アメリカン映画祭の審査員を務めた。「World Cinema Directory: Japan」、「Film Festival Yearbook」、「Asian Geographic」などの出版物に論文を寄稿。著書に『Asian Cinema: A Field Guide』(2008年)、『Time and Place are Nonsense鈴木清順の映画』(2015年)。​

Akira Tochigi とちぎ あきら

Tochigi graduated from the Graduate School of Arts and Science at New York University. He was long engaged in a range of works in film communities such as Assistant to the Director of Film Department at New York Japan Society, Editor-in-Chief of monthly film journal Image Forum, and a programmer for some film festivals. In 2003 Tochigi joined the National Film Center as Curator of Film and was responsible for acquisition, preservation and restoration of motion picture films, and access to the film collection. Restoration projects he was involved in include Akira Kurosawa’s Rashomon (1950), Teinosuke Kinugasa’s Jigokumon (Gate of Hell, 1953) and Toshio Matsumoto’s experimental short, Ginrin (Bicycle in Dream, 1956). Since he retired from the National Film Center as Chief Curator in March 2018, Tochigi has continued to work as an independent film archivist and President for the Japan Association of Moving Image Archivists (JAMIA) founded in May 2020.

​​ニューヨーク大学大学院芸術科学研究科卒業。 ニューヨーク・ジャパン・ソサエティー映画部長補佐、月刊映画誌「イメージフォーラム」編集長、映画祭プログラマーなど、映画界の様々な仕事に携わる。2003年、東京国立近代美術館フィルムセンターにフィルム・キュレーターとして入所し、映画フィルムの収集、保存、修復、コレクションの公開を担当。黒澤明監督の『羅生門』(1950年)、衣笠貞之助監督の『地獄門』(1953年)、松本俊夫監督の実験的短編『銀輪』(1956年)などの修復を担当。2018年3月に国立フィルムセンターをチーフキュレーターとして退任してからは、独立系の映画アーキビストとして活動を続け、2020年5月に設立された日本映像アーキビスト協会(JAMIA)の代表理事(会長)を務めている。​​

Markus Duffner マーカス・ドゥフナー

Markus Duffner, German but born and raised in Italy, gained degrees at Urbino University (in literature, art and foreign cultures) and at Bologna University (in film, television and multimedia production). Since 2004 he has grown his professional skills in advertising sales for the trade press (including Le film français and Cannes Market News, the official daily of the Marché du Film) and in film markets (such as The Business Street, now MIA Market). He has also collaborated with other film festivals, including the Monte-Carlo Film Festival de la Comédie and the VOICES Festival in Vologda, Russia. Since 2014 he has worked for Locarno Pro, taking charge of projects such as First Look and Match Me!, while in 2020 he became project manager of the new and highly innovative platform Heritage Online, devoted to digital distribution of classic and auteur movies — and conceived by Duffner himself. He is also behind the VOD platform Spamflix, launched in 2018, of which he is a founder member. As of January the 1st 2021 is the Head of Locarno Pro.

​​イタリアで生まれ育ったドイツ人。ウルビーノ大学(文学、芸術、外国文化)とボローニャ大学(映画、テレビ、マルチメディア制作)で学位取得。2004年以降、業界紙(『Le film français』やマルシェ デュ フィルムの公式日刊紙『Cannes Market News』など)やフィルム・マーケット(『The Business Street』、現在の『MIA Market』など)で広告販売を担当。また、モンテカルロ映画祭やロシアのヴォログダで開催されるVOICES映画祭など、他の映画祭とのコラボレーションも手掛けた。2014年からはロカルノ国際映画祭のインダストリー部門Locarno ProでFirst LookやMatch Me!などのプロジェクトを担当し、2020年には自身発案で、クラシック映画や作家映画のデジタル配信に特化した革新的な新プラットフォームHeritage Onlineのプロジェクトマネージャーに就任。また、2018年に立ち上げられたVODプラットフォームSpamflixの創設メンバーでもある。2021年1月1日より、Locarno Proのトップに就任した。​​

Taku Kato 加藤 拓

Born in 1990 in Yokohama, Japan, Kato l ived in Bangladesh from nine through eleven years old. Joining NIKKATSU in 2014 after graduating from International Christian University, Tokyo, he started his career as an assistant for the producer of the feature film “Their Distance” (2016) directed by Rikiya Imaizumi. From 2017, he joined the current international sales team and has been taking on a variety of films including “Wife of a Spy” (2020) by Kiyoshi Kurosawa which won Silver Lion at 77th Venice International Film Festival and cult masterpiece “Tetsuo” (1989) by Shinya Tsukamoto. He is also selling NIKKATSU classic masterpieces such as the Venice-winning “The Burmese Harp” (1956) by Kon Ichikawa, “Tokyo Drifter” (1966) by Seijun Suzuki.


Anette Dujisin アネット・ドゥイシン

Anette Dujisin is a film industry professional that works between Italy and Portugal. She is country manager of Filmin Portugal, a VoD platform dedicated to independent cinema, part of Comunidad Filmin which also operates in Spain and Mexico. She is also programmer at the Venice International Film Critics’ Week, a sidebar section within the Venice Film Festival dedicated to first feature films, Anette also works as programmer at the Festa do Cinema Italiano in Portugal, Brasil, Angola and Mozambique. Previously she was the coordinator of the HBO Europe Award – Last Stop Trieste within When East Meets West co-production forum and worked at the Industry Department of the Venice Film festival, amongst other collaborations with film festivals and industry events.

イタリアとポルトガルの映画業界をフィールドに活躍する。スペインとメキシコで事業を展開する「コムニダード・フィルミン」の一部であり、インディペンデント映画専用のVoDプラットフォーム「フィルミン・ポルトガル」のカントリー・マネージャーを務める。また、ヴェネチア国際映画祭批評家週間や、ポルトガル、ブラジル、アンゴラ、モザンビークで開催されるイタリア映画祭のプログラマーとしても活躍。When East Meets West共同制作フォーラムのHBOヨーロッパ・アワード「ラスト・ストップ・トリエステ」のコーディネーターを務めたり、ヴェネチア国際映画祭のインダストリー部門で、他の映画祭やイベントとのコラボレーションを手掛けるなど豊富な経験を持つ。