TIFFCOM’s exhibition space has sold out early this year, as more Japanese producers turn to the Tokyo International Film Festival’s market to secure partners before their projects are completed.

Managing director Ikeda Kaori said the shift reflects TIFFCOM’s expanding role beyond the buying and selling of finished content. Last year, the market attracted more than 4,600 industry professionals from 46 countries and regions, with attendance increasing 13%.

Ikeda, who attributed part of that growth to worldwide interest in Japanese content, told Variety that TIFFCOM has increasingly become a place for producers to build relationships during development. That change, she said, has brought a significant rise in participation by Japanese producers.

The momentum comes as Asian governments actively support their content industries and Asia stands as one of the world’s largest markets, according to Ikeda.

Tokyo IP Market Expands After Cannes Push

This year’s Tokyo IP Market features 10 participating IP holders and has expanded into new categories, including toys. Its pitch format has also been revised so that each company delivers a focused presentation centered on its flagship property.

The changes follow the market’s expansion to the Cannes Film Market this year. More than 700 people registered for the pitches, panels and related events there, with most attendees coming from Europe and Hollywood.

Ikeda said the participating IP holders secured a series of meetings with partners they rarely encounter in person. Matchmaking with the XR sector was also arranged through an initiative proposed by the Cannes market.

Major properties such as “One Piece” and “Super Mario” remain clear draws, but TIFFCOM is also positioning Tokyo IP Market as a discovery platform for lesser-known Japanese works that could become screen adaptations or remakes.

“Japan still possesses a great number of outstanding original works with strong potential for screen adaptations and remakes,” Ikeda said. She added that many producers are looking to adapt or distribute distinctive stories that have not yet become widely known, while recognizing that individual markets differ in both scale and audience.

Gap Financing and Genre Projects Take Focus

The Tokyo Gap-Financing Market, known as TGFM, is presenting 24 live-action and animation projects this year. It has also partnered with Canadian genre organization Frontières.

Ikeda identified Japan, Thailand and Indonesia as Asian standouts for genre filmmaking, particularly horror and thrillers. She said horror’s roots in local cultures and traditions can give the work a natural sense of originality while retaining strong entertainment value.

Through that genre emphasis, TGFM aims to broaden the range of filmmakers and projects participating in the market. It also hopes to establish a pathway for Asian projects seeking access to North America.

There are already tangible outcomes from the financing program. Two projects developed through TGFM are appearing at this year’s Tokyo International Film Festival. “The Violinist,” a 2023 TGFM participant, won the top prize at Annecy this year.

Ikeda said she understands that Italian financing for “The Violinist” and Thai financing for “Four Seasons in Java” resulted from connections established at TIFFCOM. While completing a film remains the primary goal of a gap-financing market, she described selection by film festivals as a significant early bonus.

Broadcasters, Anime and AI Join the Conversation

Japanese broadcasters have a major presence in this year’s conference lineup. TBS will detail its partnership with Legendary Entertainment and the international rollout of “Sasuke,” which is known overseas as “Ninja Warrior.”

Nippon TV will address its global strategy, including a drama co-produced with South Korea. TV Tokyo, meanwhile, will use a session organized by the Broadcast Program Export Association of Japan to present a case study on bringing IP overseas through experiential exhibitions.

Ikeda said terrestrial television remains strong in Japan, but broadcasters are accelerating their international efforts. She characterized Japanese broadcasters as a rich source of established IP, including dramas and formats.

Anime’s international prospects will also be examined. Ikeda sees a lack of international co-production experience—and the resulting shortage of established networks—as the principal source of hesitation for studios, beyond language and cultural differences. She also believes that gap leaves considerable room for growth.

TIFFCOM will host a conference on international anime co-production, with experts addressing financing and how projects can be structured.

Elsewhere, the program is responding to the rapid rise of short-form drama in Japan and the growing participation of AI and data analytics companies. One conference will use data to explore trends in Japanese content, while AGBO will deliver this year’s keynote. Ikeda said first-hand insight into cutting-edge uses of AI is particularly valuable in a fast-changing environment, and TIFFCOM is interested in exploring AI within its own operations.

Taiwanese project showcases, Chinese content presentations and co-production discussions involving Brazil, Canada and Japan are also scheduled.

ShowBiz Take

The early exhibition sellout is significant because it accompanies a broader change in what TIFFCOM is offering. The market is no longer focused only on transactions involving completed titles; its development pitches, gap-financing work, international matchmaking and co-production sessions are designed to connect projects with partners much earlier.

That strategy allows TIFFCOM to serve two goals Ikeda considers complementary: remaining a principal marketplace for Japanese content while developing into a wider Asian hub. She pointed particularly to Southeast Asia’s growing economic strength, production capacity and demand for Japanese programming, saying buyers could have more opportunities to acquire Japanese content as their domestic businesses expand.

What Happens Next?

Ikeda does not want TIFFCOM to commit itself to one narrowly defined growth area. Instead, the market intends to keep adjusting as formats and industry trends evolve, while seeking more partnerships with other markets and events similar to its Cannes collaboration.

As she put it, the content business five years from now has potential that cannot yet be fully defined—and that uncertainty is part of its appeal.