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2025.1.10

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Takumi Saitoh and a Student Jury Shaping the Future of the TIFF Ethical Film Award

The Ethical Film Award at the Tokyo International Film Festival (TIFF), supported by Sumitomo Corporation, is an award given to films that meet the ethical principles of "thoughts and actions that empathize with people, society and the environment." The second award ceremony in November 2024, held in Tokyo, revealed the behind-the-scenes processes and discussions of the judging panel, chaired by actor and director Takumi Saitoh, alongside three student jurors. Through the award ceremony, talk session and a special interview with Mr. Saitoh, the true value of the Ethical Film Award was brought to light.

Entertainment as a Gateway to Ethical Choices: The Ethical Film Award Supported by Sumitomo Corporation

The Ethical Film Award was newly established in 2023 at TIFF with the aim of raising awareness on social issues such as the environment, poverty and discrimination, as well as promoting understanding of diversity, through cinema. In 2024, the second edition of the award continued to uphold the ethical philosophy of "thoughts and actions that empathize with people, society and the environment."

Sumitomo Corporation, guided by its business philosophy of "Benefit for self and others, private and public interests are one and the same," has long prioritized contributing to the prosperity of society and the nation in the long term. Through a variety of programs including the "100SEED" initiative encouraging employees to address social challenges, Sumitomo Corporation is working towards building a more ethical society.

Sumitomo Corporation has also been involved in the film industry through its subsidiary, Asmik Ace (part of the JCOM Group), which has produced and distributed films including the iconic Akira (1988) and the recent works of director Yoji Yamada, from the "School" series to his latest film Mom, Is That You?! (2024). The Ethical Film Awards were created based on this experience, aiming to introduce ethical choices to audiences through entertainment.

Fair and Open Selection Process With a Decision Reached by Four Jurors

Three films were nominated for the award. This year, the Ethical Film Award Grand Prix went to Mati Diop’s Dahomey, a documentary that explores colonialism by following the return of artworks seized by France from the Kingdom of Dahomey, which once existed in the Republic of Benin in West Africa.

The film had already won the prestigious Golden Bear at the 74th Berlin International Film Festival. The two other nominated films, Direct Action and Flow have also garnered multiple awards at other international film festivals. Why was Dahomey chosen for the Grand Prix? During the award ceremony’s talk session, jury chair Takumi Saitoh revealed, "I initially came to the panel with my own ranking, but as I discussed the films with the three student jurors, my rankings gradually changed."

Mr. Zomahoun Souroulere is a native of Benin and President of Africa Network Limited.

The student juror’s perspectives played a key role. "Rather than choosing just one Grand Prix, we considered which film could represent all three works on the whole for the audience," said Kawano Hana. "What impact will the award have on how these films are received and seen in the world?" reflected Rin Nawai. These viewpoints, according to Saitoh, brought about a shift in his own thinking.

"The very act of debating the winner as jurors was in line with the principles of ethics," added Wakuto Sasaki. The jury made sure to create an open environment where everyone could speak freely, and after nearly two hours of deliberation, they reached a conclusion naturally. "Given the role of the Ethical Film Award as an opportunity to raise awareness of social issues in Japan and the rest of the world, the decision to place Dahomey at the forefront of the three nominees was the conclusive answer we arrived at," Saitoh explained. He praised the three student jurors, describing them as dedicated "cinephiles" who take film seriously, while emphasizing that "the jury process itself should be ethical." After the award decision, the jury deliberation was published on the official TIFF website. By making the often-opaque process of deliberation transparent, Saitoh hoped to maintain fairness and transparency, ensuring that it would remain accessible to everyone and, in doing so, contribute to further meaningful change.

During the Q&A session towards the end of the talk, an audience participant asked about the meaning of "ethical." In response, Saitoh said, "For me, ethical means understanding the individuality of others and organizations, and sometimes it’s about showing empathy. But the definition could also evolve over time."

The event highlighted how people with diverse perspectives can engage on equal footing and create new value. Providing a glimpse into how society might be shaped for the better, this second-ever ethical film award ceremony was an inspiring and thought-provoking occasion.

Takumi Saitoh (left) smiles as he takes questions from the audience.

Special Interview with Takumi Saitoh
What One Person Can Do to Create a Truly Ethical Film Industry

  • Takumi Saitoh

    Takumi Saitoh is known for his roles in notable films like Hirugao: Love Affairs in the Afternoon and Shin Ultraman, and has appeared in numerous TV dramas, including on Netflix. As a director, his debut feature blank13 (2018) won eight awards at film festivals in Japan and overseas. He also produced the documentary A Big Home (2024) and the Hollywood film When I Was a Human (release date TBD), starring Danny Trejo. Saitoh is active across many creative fields, ranging from bringing mobile cinema to disaster-stricken areas and developing countries, to taking black-and-white photographs.

In the talk session, there was talk of the structure of the selection process being ethical. As the chairman of the jury, what points did you keep in mind when you were judging this year's competition?

When I was first approached, it was explained to me that the formal decision-making authority rests with the jury president, but I felt that a structure where all authority rests at the top wasn’t suitable for this award. I wanted to move away from the constraints of titles and take a more collaborative approach, fostering open communication with the three other jurors.

As a result, the perspectives of each juror blended, and our understanding of the films evolved over time, leading to an emotional experience where the rankings shifted repeatedly. I felt that this process – accepting others’ opinions and, in turn, being flexible enough to embrace the changes that occur within oneself – captures the essence of what "ethical" truly means.

Making the judging process public also seems like a groundbreaking idea.

Earlier, a representative from the Malaysian media said, "I’ve never heard of the Ethical Film Award outside of the Tokyo International Film Festival. Other festivals should establish a similar category." It would be wonderful if other film festivals, both domestic and international, could "sample"* this initiative, including the transparency of the judging process and the release of deliberation recordings.

* "Sampling" refers to extracting a part of something for use or analysis, a technique often used in music.

Image left: Takumi Saitoh (center) engages in discussion at the Ethical Film Award jury meeting. Image right: Ms. Hana Kawano (left) and Mr. Wakuto Sasaki served on the jury.

Having been involved in the film industry since your twenties and becoming the founder of the mobile cinema "cinéma bird" in disaster-stricken areas and developing countries, do you feel that the current Japanese film and entertainment industry is ethical from your perspective?

It’s still far from being ethical. Whether the production is large or small, it’s rare to find a set where the budget is secure. The expectation of achieving more than what’s realistically possible is widespread, which often leads to an unethical environment. The industry as a whole needs to change, but I believe that change must come from individuals. We need to act, even if it’s just small steps. Without action, nothing will change.

Please tell us about any specific initiatives that you are pursuing or would like to pursue in the future.

One of my goals is to improve the quality of food on set. I firmly believe that what we eat directly impacts our creativity, regardless of our role in a production. I am currently in discussions with the Japan Motion Picture Production Standards Association (J-MOPS) to make nutritionists mandatory on set.

Another voluntary initiative I’ve been working on is setting up childcare services on set. We establish a dedicated room close to filming locations where a babysitter can look after children. It’s something that can be done without a significant budget, but it’s not yet a common practice on most sets.

Setting up a childcare service seems like it would make it easier for more people to work.

In Japan’s film industry, there’s a legacy of reluctance to accommodate such needs, leading many women to leave the industry after marriage or childbirth. While childcare shouldn’t fall solely on women, the reality is that we’ve lost a lot of female talent because of this. This year’s Tokyo International Film Festival has highlighted female directors, but it’s clear that the industry in Japan needs to change. As a filmmaker, and more importantly as a human being, I believe I should start doing what's possible within my reach.

Tokyo International Film Festival Evolving: Embracing a Wide Range of Film-Centric Initiatives

Established in 1985, the Tokyo International Film Festival (TIFF) is one of Asia’s largest international film festivals and the only one in Japan officially recognized by the International Federation of Film Producers Associations (FIAPF).

The 37th Tokyo International Film Festival took place over ten days, from October 28 to November 6, 2024, in the Hibiya, Yurakucho, Marunouchi and Ginza areas. Among 2,023 submissions from 110 countries and regions, a variety of events related to film were held, including the Competition Section, where films compete for the Grand Prix after rigorous screening, as well as initiatives to discover and support the next generation of talent, preserve film footage and promote Japanese cinema abroad.

In line with the mission set forth in 2023 – "to amplify the possibilities of cinema from Tokyo and contribute to interactions with a diverse world" – this year a new section titled Women’s Empowerment was created, focusing on works by female directors or those centered around women’s contributions. The Ethical Film Award supported by Sumitomo Corporation since 2023 also continued, with the award announcement and ceremony held on November 5.

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