The Japanese Film Festival (JFF), presented by The Japan Foundation, Sydney, returns for its landmark 29th year with screenings in Canberra, Melbourne, Brisbane, Sydney and Perth from 27 October to 19 December 2025.
Opening the festival is Kokuhо̄, Japan’s official submission for the 2026 Academy Awards. Directed by Lee Sang-il (Villain, Rage) and starring two of Japan’s biggest stars, Ryо̄ Yoshizawa and Ryūsei Yokohama, alongside veteran actor Ken Watanabe (The Last Samurai, Memoirs of a Geisha) the film has broken all-time box office records for a live action film at home.
Several films in the program are drawn from acclaimed literature and popular culture. 6 Lying University Students, adapted from Asakura Akinari’s 2021 bestseller, transforms a corporate recruitment test into a psychological thriller. Petals and Memories is based on Minato Shukawa’s Naoki Prize-winning short story collection Hana Manma, centring on a brother and sister navigating family obligations and hidden truths. 366 Days, inspired by the hit song by Okinawan band HY, follows two students whose relationship is tested as they move from their hometown to Tokyo to pursue careers in music and translation.
We sat down with the brilliant festival programmer for her Irresistible interview and her great insights into the Japanese -Australian relationship.
This year, we want audiences at JFF to walk away feeling uplifted and inspired when they leave the cinema. While each of our titles are very different, they all explore what it means to take ownership of one’s life and make a change for the better. We hope that empowered feeling stays with cinemagoers for a long time after the credits roll.
How does this year’s festival reflect the intersection of Japan’s contemporary identity and its deep cultural roots?
When curating the program, our team at JFF aims to showcase the diversity of Japanese culture, and
I think this year’s festival has achieved that. Japan is so unique because it’s a country where modern society exists alongside its traditional culture, so it’s important that our program includes a mix of films that reflects this contrast.
Of course, every year we bring brand new Japanese films straight from the box office to Australian cinemas. These titles reflect Japan’s modern cultural identity, and in this year’s program I think the wacky comedy Cells at Work! does just that! This live–action adaptation of the hit manga series reimagines the human body as a bustling metropolis populated by 37 trillion cells. The concept is extremely unique, and I think the film is such a great example of the over–the–top humour and creativity that Japan is so well known for.
We also know that Australians love seeing Japanese culture on the big screen, so it’s one of our top priorities to include titles that show Japan’s traditional side. Our opening film is an epic drama called Kokuhō, which celebrates the art of kabuki, or traditional Japanese theatre. We’re also showing an amazing period drama titled Bushidō, which is a revenge tale that delves into samurai code and tradition. By including a variety of films like these in our lineup, we hope to provide audiences with a complete picture of Japan’s cultural identity.
While we don’t necessarily have set themes guiding our curation for the festival each year, we do tend to notice recurring topics that emerge in the films we end up choosing for the program.
This year we were particularly drawn to stories where the characters undergo some sort of transformation, and experience significant personal growth in their lives. These inspiring tales remind us that no matter where you start, everyone has the ability to change their path for the better.
In particular, the romcom Sunset Sunrise moved me on a deeper level. This film is set against the backdrop of the COVID–19 pandemic, and follows a Tokyo salaryman called Shinsaku as he decides to work remotely and move to the Japanese east coast. But as scars from the 2011 Great East Japan Earthquake remain fresh, Shinsaku finds it challenging to win the trust of the locals.
This movie is such a heart–warming one that emphasises the importance of community and connection, and it definitely had me emotional by the end of it! The story drives home the importance of staying positive, and sends the message that everyone has the power to make a difference to the lives of those around them.
How do you balance blockbuster appeal with the quieter, more poetic works that Japan does so beautifully?
Japan’s cinematic landscape is incredibly rich, and our festival is just a small snapshot of what it has to offer. So by programming major box–office hits together with more intimate, poetic works, we aim to showcase the full spectrum of Japanese cinema through our festival.
While the attention–grabbing, high–budget titles draw people in, the more thoughtful works linger with audiences for a long time afterwards. Of course, not every film will resonate with every viewer, but that’s part of the beauty of having a broad program.
To help audiences connect more deeply with these varied stories, we host special post–film talks that offer insights into the creative process and cultural context behind the films. Our hope is that people leave JFF not only feeling entertained, but also inspired to explore more of Japan’s cinematic treasures.
What do you think draws Australian audiences so strongly to this festival? — what’s the cultural exchange at play?
It’s no secret that Australians love Japan. With travel to Japan at record highs and a deep appreciation here for Japanese culture, it’s no surprise that Australian audiences feel such a strong connection to the festival. While our audience is wonderfully diverse in their film tastes, they all come to our festival for the same reason thing — to celebrate Japanese cinema and connect with likeminded people who are also passionate about Japanese culture. There’s a sense of community in attending a film festival like ours, and I think JFF is a great way for Australians to transport and immerse themselves in Japanese culture, without necessarily leaving the country.
What’s the most unexpected moment you’ve experienced in bringing this year’s festival to life?
Honestly, what surprised me the most was the incredible reaction to our opening film Kokuhō! Of course, our team was well aware of the film’s incredible success in its home country; since its release it has broken all–time box office records, and is on its way to becoming the highest grossing live action film in Japanese history.
But we were blown away by just how eager Australians were to see a three–hour long film about
kabuki, the art of Japanese theatre. The response has been amazing to say the least, with many of the film’s sessions already sold out! We’re so excited for our fans to finally see the film itself when it hits cinemas.
2025 Japanese Film Festival screening dates and venues:
CANBERRA: 27 October – 18 November
Palace Electric, National Film and Sound Archive (NFSA)
MELBOURNE: 6 November – 4 December
The Kino, ACMI
BRISBANE: 6 November – 19 December
Palace Barracks, Queensland Art Gallery & Gallery of Modern Art (QAGOMA)
SYDNEY: 12 November – 1 December
Palace Norton Street, Palace Moore Park, Palace Central, Art Gallery of New South Wales (AGNSW)
PERTH: 18 – 26 November
Palace Raine Square
ABOUT THE JAPAN FOUNDATION, SYDNEY
The Japan Foundation, Sydney is the Australian arm of the Japan Foundation, which was established by the Japanese government to promote cultural and intellectual exchange between Japan and other nations. It runs a diverse range of programs and events, including exhibitions, talk events, grant programs and Japanese language courses for all levels from beginner to advanced. The Japan Foundation was established in 1972 with a global network of 26 offices in 25 countries. The Australian office was founded in 1978.
