Shinagawa Hiroshi to Direct Japan-U.S. Zombie Mockumentary Film ‘Among the Dead’ (EXCLUSIVE)

Patrick Frater Asia Bureau Chief Japan‘s Fair Trade Commission on Tuesday approved a remedial proposal by Toho Cinemas, the country’s largest movie theater operator, not to apply unfair pressure on third-party film distributors. The FTC opened an investigation into film booking practices in March of last year, having received reports that Toho Cinemas, which is also in the same family of companies as Japan’s leading distributor, had pressured other companies to only use its theaters. In its decision, reported by Japanese media, the FTC said that it accepted Toho Cinemas’ proposed remedies and said that it would not need to issue a cease-and-desist order or take other punitive measures that the anti-monopoly laws allow. The FTC explained that distributors choose so-called main cinemas as venues for promotional events (stage greetings, fan meetings and gala screenings). It found that since 2016 Toho would not accept film bookings at cinemas in its circuit unless a Toho Cinemas venue had also been designated as a main cinema. At the time of the complaint, the Asahi Shimbun business newspaper mentioned ‘intimidation’ by Toho.

Patrick Frater Asia Bureau Chief Hamaguchi Ryusuke’s “Evil Does Not Exist” collected four nominations for the Asia Pacific Screen Awards, making it the narrow favorite ahead of the three times nominated “Snow Leopard,” by the late Pema Tseden. The narrow lead matches the overall pattern this year’s, where Japanese and Chinese films dominate APSA nominations proceedings. Nominations were announced at midnight on Thursday in Gold Coast, Queensland, where the final awards will be celebrated on Nov. 3. “Evil Does Not Exist,” an eco-drama that premiered in Venice, is nominated in best film, best director, best screenplay and cinematography categories.

Patrick Frater Asia Bureau Chief The Johnny & Associates talent agency in Japan is to dissolve following scandal caused by the acts of sexual abuse conducted by the group’s late founder Johnny Kitagawa. The company announced on Monday that it will break itself into two parts – one to be called Smile-Up, entirely devoted to compensating victims – the other as a talent agency operating with a new name, that has yet to be decided. The group began to take action last month following two damning investigations that found that Kitagawa’s abuse had been hugely extensive and continued for years and that the company and Japanese media had ignored, if not covered it up. On Monday it said that some 325 victims had come forward to claim compensation. In a statement by Fujishima read out in her absence, the former chief executive, who owns 100% of the agency, said it was her duty as Kitagawa’s kin to put an end to Johnny & Associates. “I want to remove all traces of Johnny Kitagawa from this world,” her statement said.

featured on “The Kardashians” — but for now, it would only be if the camera catches a glimpse of Kylie Jenner’s phone background.As of now, the actor has not filmed anything for the Hulu reality show, which is currently airing Season 4.“No,” executive producer Ben Winston told Variety in a recent interview. As for if the team planned to film shots of the couple down the road, he added: “No comment.”“Nothing I can say can bring me good things on that.

Patrick Frater Asia Bureau Chief A trio of local films released in time for the Chuseok holiday season dominated the South Korean box office over the latest weekend. Comedy fantasy “Dr Cheon and the Lost Talisman” dominated. It earned $5.98 million between Friday and Sunday with a more than 48% market share.

Kendall and Kylie Jenner are both in new relationships with very famous men, but will we see them on The Kardashians?

Patrick Frater Asia Bureau Chief TIFFCOM, the rights market that sits alongside the Tokyo International Film Festival, is celebrating its return to an in-person format for the first time since 2019, with a move to another venue and the launch of the new Tokyo Story Market. The three-day market (Oct. 25-27) will relocate from Ikkebukuro to the Tokyo Metropolitan Industrial Trade Center (aka Hamamatsucho-Kan) in Hamamatsucho district.

Patrick Frater Asia Bureau Chief Netflix has given a green light to a third season of dystopian Japanese thriller series “Alice in Borderland.” The announcement was made by Netflix VP of APAC content, Kim Minyoung on the second day of the APOS conference in Indonesia. Based on the manga series of the same name by Aso Haro, “Alice in Borderland” follows the story of Arisu after he is transported to a parallel universe in which he has to play and win games to remain alive. The games are divided into four categories represented by suits on a deck of playing cards.

Patrick Frater Asia Bureau Chief Equal numbers of Chinese and Japanese titles adorn the main competition section of the Toyo International Film Festival, which was announced on Wednesday – three each. Among the Chinese films is “Snow Leopard,” the last feature by the late Pema Tseden, and “Dwelling by the West Lake,” directed by Gu Xiaogang, the surprisingly inexperienced joint recipient of this year’s Kurosawa Award. The full competition with 15 titles, set to play between Oct. 23 and Nov.

Patrick Frater Asia Bureau Chief Ryuji Otsuka and Huang Ji, the husband and wife, Japanese-Chinese directing duo behind “Stonewalling” and “Egg and Stone” have secured multi-national backing for their upcoming fourth film project “A Woman Builds.” The film will depict a Chinese woman forced to live apart from her Japanese husband and their daughter during the pandemic and learning to enjoy the newfound freedom of a pseudo single life. She finds a unique massage parlor to satisfy her sexual needs and decides to build a house back in her home village, despite her husband’s disapproval.

Anna Marie de la Fuente In one of the first deals to emerge from the San Sebastian Film Festival, powerhouse indie studio, Filmax, which celebrates its 70th anniversary at San Sebastian Festival, has snapped up international rights to LGBTQ+ dramedy “Norbert(a)” from Imposible Films, the producers of hits “Truman,” “The People Upstairs” and “Stories not to be Told.” Directed by newcomers Sonia Escolano, who also penned the script, and Belén López Albert, it is toplined by Luis Bermejo (“Magical Girl”), Adriana Ozores (“Alba”), Mariona Terés (“The Girls at the Back”) and María Romanillos. Norbert(a) follows Norberto and María, who’ve been married for decades and live what seems like an ordinary life in their working-class neighborhood.

Patrick Frater Asia Bureau Chief Studio Ghibli, the iconic Japanese cartoon firm behind Miyazaki Hayao’s recent “The Boy and the Heron” is selling a controlling stake to Japanese broadcaster NTV.

Patrick Frater Asia Bureau Chief Director Clara Law (“The Goddess of 1967”) has been set as president of the jury which will discern this year’s Asia Pacific Screen Awards. She will be joined by Malaysia’s Yeo Yann Yann (“Ilo Ilo,” “Wet Season,” American Born Chinese”), German producer Anna Katchko (“Stepne,” “Happiness”), and Faisal Baltyuor, producer and CEO of Muvi Studios in Saudi Arabia. A separate jury for documentaries and animation will be headed by Taiwan-based Myanmar director Midi Z, India’s Rima Das and Japanese documentary maker Toda Hikaru. The APSAs will be presented at a ceremony in Gold Coast, Queensland on Nov.

Patrick Frater Asia Bureau Chief Disney has given a green light to a second season of Japanese drama -horror series “Gannibal.” Set in a fictional Japanese village, season one of Gannibal saw recently relocated police officer Agawa Daigo arrive in his new home a broken man. Wrestling with his guilt over an event that traumatized his daughter, things started off promisingly for the new arrival before a series of alarming events quickly led Agawa to the horrifying realization that something was deeply wrong with the villagers and the mysterious Goto family.

Patrick Frater Asia Bureau Chief Ozu Yasujiro, the leading Japanese film director behind classics including “Tokyo Story” and “Late Spring,” has had his double birth and death anniversaries – Ozu died in 1963 on the day of his 60th birthday, a little more than a year after the release of his last film “An Autumn Afternoon” – celebrated throughout 2023 at places as varied as the Cannes Film Festival, Los Angeles’ Margaret Herrick Library and the Taiwan Film & Audiovisual Institute. But it falls to October’s Tokyo International Film Festival to put on this year’s biggest and most comprehensive reconstruction of Ozu’s surprisingly varied career. Working in conjunction with the National Film Archive of Japan, the festival will present an extensive retrospective that covers almost all the films that Ozu directed (TIFF/NFAJ Classics: Ozu Yasujiro Week) from Oct. 24-29. Ozu spent his entire career, from camera assistant in 1923 to renown director in 1962, as an employee of major Japanese studio Shochiku, with all the advantages and disadvantages such an arrangement brought. While Ozu is best known for his stripped-down dramas, often centered on family relationships, sometimes troubled or contentious, involving parents and young or grown-up children, many hinging on questions of marriage, generational misunderstandings or the loneliness of the elderly, the director’s register may not entirely have been of his own choosing. “The apparent consistency of the post-war films surely owes as much to this production situation as to Ozu’s aesthetic choices,” wrote critic Tony Rayns in a recent Sight & Sound portrait.

Patrick Frater Asia Bureau Chief Steven Yeun has bucked stereotypes and carved a new niche as sexy Asian leading man with his roles in “Burning” and “Beef.” Justin Chon transitioned from a supporting role in “Twilight” to directing “Gook,” “Jamojaya” and half of Apple TV+’s “Pachinko.” And Busan-born Daniel Dae Kim has expanded from “Lost” and “Hawaii” to becoming one of Hollywood’s leading producers. The stateside successes of Korean-born and Korean American talent are growing and are worth celebrating. But the Busan International Film Festival’s planned party is being dialed down a notch under the impact of the twin writers’ and SAG Actors strikes in the U.S. Busan’s ‘Special Program in Focus: Korean Diasporic Cinema’ will go ahead with a screening schedule including six films, public talk sessions that include Oscar-winning actor Youn Yuh-jung, Lee Isaac Chung, director of Oscar-winning film “Minari,” and John Cho, the Seoul-born “Star Trek” and “Searching” star.

Patrick Frater Asia Bureau Chief The Paramount+ streaming service will launch in Japan in December as a free-of-charge addition to cable and internet provider J:COM’s platform and to pay-TV service Wowow. Paramount+ originals including “Tulsa King,” “Mayor of Kingstown” and “Star Trek: Strange New Worlds” will be available at the launch of the service and for the first time in Japan. Japan will be the second country in East Asia where the service becomes available, following a launch in South Korea in June last year.

Patrick Frater Asia Bureau Chief Japan’s Dean Fujioka (“Fullmetal Alchemist,” “The Man From The Sea”) and the U.K.’s Callum Woodhouse (“All Creatures Great and Small,” “The Durrells”) are set to star in “Orang Ikan,” a WWII-set creature horror film. The picture is scripted by Singapore and Indonesia-based Mike Wiluan (“Buffalo Boys,” HBO series “Grisse”) who will also direct the picture from next month. International rights to “Orang Ikan” have been picked up by London-based SC Films International, which will give the project its sales launch at the Busan festival and accompanying market next month. Set in the Pacific, 1942, a Japanese ship transports prisoners of war to occupied territories as slave labor.

Naman Ramachandran Indian star Karthik Sivakumar, known by his screen name Karthi, is bullish about upcoming release “Japan,” his 25th film. The film is due to release in November during the Deepavali holiday frame in Tamil, Telugu and a few other languages.

Patrick Frater Asia Bureau Chief Korean crime-action webtoon “Knuckle Girl” is being adapted as an original film production for Amazon’s Prime Video. It is structured as a Korea-Japan co-venture. The narrative revolves around a promising woman boxer, Ran, who takes on school bullies and participates in illegal bouts.