Joining her on the panel is her frequent collaborator, Christophe Bruncher. A graduate of the prestigious French film school La Fémis and a fluent Mandarin speaker, Bruncher brings a unique linguistic and cultural perspective to the table. As the head of studies for Ties That Bind, he has been instrumental in fostering connections between the two regions. His recent co-production credits reflect a diverse range of artistic voices, including Muriel d’Ansembourg’s “Truly Naked,” which featured at the Berlinale, and Kamila Andini’s “Four Seasons in Java,” a selection for the Toronto International Film Festival. Both of these films are being showcased at this year’s Tokyo festival, providing attendees with current examples of his collaborative philosophy in action.
The panel is further bolstered by the presence of Oh Heejung, the founder of Seesaw Pictures. Based in both Seoul and Amsterdam, Oh’s career exemplifies the modern, borderless producer. Her films have been selected for some of the most prestigious festivals in the world, including Sundance, Berlin, Locarno, Rotterdam, Busan, and the International Documentary Film Festival Amsterdam (IDFA). Her participation brings a documentary and independent film perspective to the discussion, highlighting that co-production is not limited to large-scale commercial features but is equally vital for auteur-driven and non-fiction cinema.
Rounding out the panel is Moriya Takeshi, the CEO of Atmovie and the visionary behind the Atmovie Global Track accelerator. Moriya’s influence on the Japanese industry is significant, with production credits that bridge the gap between popular television and award-winning cinema. He is well-known for his work on the internationally beloved TV series “Midnight Diner,” as well as Uchida Eiji’s “Midnight Swan.” The latter film achieved remarkable domestic success, being named Picture of the Year at the 44th Japan Academy Film Prizes. Moriya’s involvement underscores the accelerator’s mission: to take talent that has found success in Japan and provide them with the tools to replicate that success on the global stage.
The panel itself was curated by Sekiguchi Mio, a producer at Atmovie Global Track whose own credits include Uchida Eiji’s “Fiamma.” The curation reflects a strategic effort to address the specific hurdles Japanese filmmakers face when entering the international arena. According to the organizers, many creators in Japan find it difficult to build the necessary trust across different cultures and often struggle with the nuances of communication outside their native language. The open session at TIFFCOM is intended to share these hard-learned lessons with the wider industry, helping to expand the network of Japanese filmmakers who are actively pursuing international work.
While the October 30 panel is the public-facing component of this initiative, much of the foundational work will occur in the days leading up to the event. On October 27 and 28, Oh Heejung and Christophe Bruncher will lead a closed, two-day workshop specifically for the fellows of the Atmovie Global Track accelerator. This intensive program is designed to move away from traditional lecture-style teaching in favor of a more collaborative, group-session approach. Participants will have the opportunity to develop their specific projects under the mentorship of Oh and Bruncher, discussing not only the creative aspects of their films but also their long-term career trajectories in an increasingly globalized market.
