FAB 雰囲気 (FUINKI). A coup for Japan. All of ADFEST 2019’s Fabulous Five are Japanese. A coup for AOI Pro. Three come from there. To be fair to Australia, its Fabulous Five winner, Josh Patrick from Finch, had to drop out. But it’s apparent that Japan’s emerging young directors are ready, willing and able to uphold, if not further, the stellar reputation of Japan’s film production on the world stage.

“Fuinki means something special, atmosphere, mood in Japanese and I think it’s exactly that which gives Japanese young directors their spark,” states Peter Grasse, executive producer of Mr+Positive Japan and Sydney.  

Grasse returned to Japan from Australia in 2016 to build Cutter’s production company, Dictionary Films. At the end of last year, he launched his own production company, Mr+Positive. Grasse promises that he’s more than ready uphold, if not further, the stellar reputation of Japan’s film production on the world stage. Making sure he stays true to his word, Grasse has already signed directors, Alan Irvin, Astro (Spencer Susser) & Astaire (Cloud Campos), Brig White, Connor Gilhooly, Grant De Sousa, Helen Clemens (Japan), Justin McMillan (Japan), Keith Ehrlich, Nicole Maria Ackermann, Reynald Gresset, Robin Walters, Ryan Kruger, Ryan Staake, Sam Kristofski and Sam Spiegel.

“There’s a great creativity in the air in Tokyo. It’s not unique to Tokyo, but it’s inescapable here,” he adds. “Even the antithesis of creativity, the boring business place, gets the Japanese creative juices flowing. Think about it. How many music videos, art installations, even NIKE commercials have punched up against that monolith of monotony… 

Also, commercial directors are still considered artists here. It’s something the creative youth still aspire to be and to which the general population has respect. That’s more or less gone in the west, except for the special few and I have to say that’s a bit of shame as it lowers the bar for those images we are confronted with the most.”

Grasse has also been struck by Japan’s commitment to its next generation talent.

“Production companies here still invest in young talent, which is also gone in the West and is so, so, so, so, so lamentable,” notes. “Paradoxically, established directors are most usually freelance in Japan, which makes those production investments in emerging stars seem altogether altruistic and for the common good.”

If there’s a secret to Japan’s spectacular performance in ADFEST’s Fabulous Five this year, it’s long-term commitment, Grasse suggests.  “To be the devil’s advocate, I could say that the other countries have all dropped out because only the Japanese talent wins year in and year out. I just don’t know if that’s a bad thing. Perhaps it shows that there is return on investment and that young artists matter. New Zealand used to have a director in the mix every year (I personally produced & acted in both Miki Magasiva & Ben Fisher’s Fab Four entries). Yet, a Japanese director usually takes the prize. 

“In that light, BRAVO for Japan. Now it just has to communicate that message effectively to the rest of the world - which is where I, Mr+Positive, come in.”