Tokyo jury weighs 15 competition films after festival regains A-list status
Developing story first seen 3 hours ago
The Tokyo International Film Festival’s 2026 competition jury has begun discussing how it will choose a winner from 15 films, with jury chair Rolf de Heer saying they should aim for an interesting choice even if some jurors dislike it. Producer Oh Jungwan joked that she was prepared to fight for her preferred film, while de Heer said the five jurors seemed reasonable enough to work through disagreements.
The discussion also revisited Tokyo’s renewed A-list status, which de Heer said may help attract quality films but does not greatly change the festival’s standing among people who already attend. Oh said audiences come to watch films and enjoy the festival, while Alex C. Lo praised its hospitality and attentive audience. De Heer added that Australian-Japanese co-productions work best when the story naturally calls for filming in both countries.
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In short
- The jury will judge 15 films for Tokyo’s Grand Prix.
- Jurors expect to work through disagreements over their choices.
- Members debated what the festival’s A-list status means.
How this story developed
- 1 hour ago The jury’s full five-member line-up was specified as Rolf de Heer, Yov Moor, Oh Jungwan, Makiko Watanabe and Alex C. Lo, who will award the Tokyo Grand Prix; Lo highlighted the festival’s welcome and audience, while de Heer said jurors should seek an interesting winner despite disagreements.
- 1 hour ago Tokyo International Film Festival’s 2026 competition jury began weighing how to choose a winner from 15 films, as its members discussed the event’s renewed A-list status, its audience and the prospects for Australian-Japanese co-productions.
Full account
The Tokyo International Film Festival’s 2026 competition jury is considering 15 films, with discussion at its press conference ranging from international co-productions to the meaning of festival status. The jury is led by Dutch-Australian filmmaker Rolf de Heer, alongside French colourist and producer Yov Moor, South Korean producer Oh Jungwan, Japanese actor Makiko Watanabe and Taiwanese-American producer Alex C. Lo.
Much of the exchange was measured, though De Heer gave a direct answer on why Australia and Japan make relatively few films together. He argued that a production needs a story-based reason to film in both countries. In his view, European co-productions are more often organised around financing, while Australia has been less inclined to use that approach. He said projects with a natural connection between the two locations could still be made if the right scripts emerged.
The jury also considered Tokyo’s renewed A-list accreditation from FIAPF, the international federation that assesses film festivals. De Heer said the designation largely confirms how many festival-goers already regard Tokyo, although it could help the festival attract a stronger selection of films. Oh, who said she was not well versed in festival rankings, put the audience’s perspective differently: people attend to watch films and enjoy the event, rather than because of its category. De Heer added that the system matters greatly to some people and scarcely at all to others.
Co-production was another theme, partly because several of the 15 competition entries involve international partners. Lo said producers in Europe, the United States and elsewhere are increasingly looking for such arrangements, often in connection with support from their own governments. The reports give different weight to the discussion: one foregrounds the jury’s relaxed, largely non-political tone and the debate over Tokyo’s standing, while the other supplies more detail on FIAPF’s revised accreditation framework and co-production trends. Both centre on De Heer’s view that the restored rating may affect film access without fundamentally changing the festival.
Where outlets differ
From the full account, which is AI-written from the sources:
The first report characterises the press conference as genteel and largely free of politics, and highlights Oh’s audience-focused response and the discussion about whether rankings matter. The second focuses more on FIAPF’s accreditation reform, gives additional context about its categories and the number of accredited festivals, and includes Lo’s comments on government-linked production support.
The reports describe Lo’s base differently: the first calls him Taiwanese-American, while the second describes him as New York- and Tokyo-based. These descriptions are compatible but emphasise different aspects.
Explained simply
The Tokyo International Film Festival is an annual event where films from Japan and around the world are screened. Its competition brings together a selection of films for a jury to judge, with awards giving recognition to the filmmakers and their work.
Rolf de Heer is an Australian filmmaker serving as jury chair; Oh Jungwan is a South Korean producer, and Alex C. Lo is also on the jury. The festival’s A-list status refers to its place among major international film festivals, which can help it attract films and industry attention.
The festival also provides a meeting place for filmmakers and audiences, including people working across countries. Co-productions between Australia and Japan are among the collaborations discussed, and can bring together talent and settings from both countries.
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Originally published by The Hollywood Reporter as “Tokyo: Competition Jury Discusses Event’s ‘A-List’ Status, Fighting Over Favorite Films”.