From March 15th, 2025Niigata International Animation Film Festival (NIAFF)will be held. This year marks the third round, and the number of entries for the competition exceeded the previous one, and he said he was also focused on the judgement.Inoue Shinichiro. As a festival director, I was asked to talk about the highlights of the film festival.
[Interview and text by Fujitsu Ryota]
●Inoue Shinichiro Profile
Representative of ENJYU LLC. He has been a producer of numerous films and anime. When the anime magazine “Newtype” was first published, he served as the vice editor-in-chief, the first editor-in-chief of the manga magazine “Monthly Shonen Ace,” and the vice president of KADOKAWA. Latest news is Instagram@inoueenjyuCheck it out.
■More than “film festival” power-up
–The Niigata International Animation Film Festival will begin on March 15th. This is the third NIAFF event, which began in 2023 as a regional international animation film festival. Inoue has been involved in the festival director since his first time, but what role does he have as a festival director?
InoueIt’s strange to say this myself, but I think that they are required to be the “face” of a film festival. His main job is to give speeches to the opening and closing of film festivals, and to visit various companies to ask for cooperation in the film festival. Also, if there are works that are easier to borrow if I use them, I will act as an intermediary.
–The first screening of “The Flower Poetry: Gotikmade” (directed by Nagano Mamoru), is truly an Inoue case.
InoueI agree. Also, in the second episode, I performed a retrospective by director Takahata Isao, so I also went to greeting the rights holders and the bereaved families. This kind of behind-the-scenes work is the main focus.
–Looking at the programs announced for this third session, it seems that more various plans are scheduled for the second session. Could you please tell us what’s to watch this time?
InoueFirst of all, I would like you to watch the competition. I’m sure NIAFF’s popularity has increased since the first and second episodes, but 69 works have been received from 28 countries and regions, which are significantly higher than the previous episode. From there, 12 works from 14 countries, including co-productions, were selected for the competition. With such a wealth of entries, the selection of competitions was also a very enthusiastic discussion. Therefore, in the process of narrowing down to 12 works, there have been some decisions that they would not be selected for competitions despite being featured or talked about. I think the fact that such discussions were possible reflected the enrichment of the competition.
–It’s even more like the International Animation Film Festival than the second one.
InoueThis trend was also seen last year, but there is a huge increase in the number of variations in countries where competitions were applied. What surprised me personally was that one of the works I painted this time was the Dominican Republic’s work (Olivia and the CloudsThat was what he was called the director Thomas Pichard Espaillat. In the past, there were only a limited number of countries in the world that produced feature-length animations, but now I feel even more than anything, many countries are making feature-length animations. I think there are only a few opportunities to watch the various feature-length animations around the world, so I hope you will take this opportunity to see them. Incidentally, from Japanese works“Lookback”(Director Oshiyama Seitaka),“Anzu-chan, a monster cat”(Director: Haruko Kuno and Yamashita Atsushi) is in the competition, so if you’re interested, please come and visit us.
–Retrospective is a major pillar of the film festival along with the competition. The first featured manager Otomo Katsuhiro, and the second featured manager Takahata Isao.
InoueThe third episode will feature director Toshi Ima. It has been 14 years since his death, but it remains that Director Toshi Imasa is Japan’s leading animation director. This work is written in the TV series.“Delusional Agent”I think it’s a great opportunity to see them all at once, including them. He participated as a staff member, not only in directorial works but also in layouts.“Old Man Z”(Director Kitakubo Hiroyuki)“Run Melos”(Director Osumi Masaaki)“Mobile Police Patlabor 2 the Movie”(Coach Oshii Mamoru),“MEMORIES”(General Director Otomo Katsuhiro, director Morimoto Koji, Okamura Tensai, and Otomo Katsuhiro) will also be screened.
–Surmble Melos is a movie that has not even been released on DVD, so this screening opportunity is incredibly valuable.
InoueI agree. I hope you don’t miss this opportunity.
–What other programs that are popular?
InoueProgramming Director Kazuto Naoshi focused on the programme, which includes the “Terminal Points in Japanese Animation CG”, mainly for all-night events, and a feature on dwarves featuring stop-motion anime studio dwarves.
“The turning point in Japanese anime CG” is a look back at the history of CG animation over the past quarter of a century, and is a 2004 version.“Appleseed”(Director Aramaki Shinshi) OVA in 1998“Blue No. 6”(Directed by Maeda Mahiro) and others can be seen at an all-night screening with talk between Maeda and Aramaki. Another day“FINAL FANTASY”There will also be a screening (directed by Sakaguchi Hironobu, 2001).
The latest feature in the dwarf feature“Bottle George”(Director Daisuke)“A cat cat is in the middle”(Directed by Goda Keio) will be screened.
■Check out the projects unique to the Niigata Anime Film Festival
–You mentioned the competition at the beginning, but NIAFF also offers two awards: the Okawa Hiroshi Prize and the Buratani Niji Prize. This is the third time I’ve had it, so could you please tell me about this as well?
InoueThe Okawa Hiroshi Prize and the Bukutani Niji Prize are awards that are named after two people who played a major role in the launch of Japan’s postwar animation culture as managers and creators, and were both awarded because they are from Niigata. With the aim of highlighting a variety of professions in the production site, from the second round, the Okawa Hiroshi Prize has decided to recognize the production studio, and the Tsubaya Niji Prize has announced the winners, with the roles that honor individual staff.
This Okawa Hiroshi AwardShinei VideoThe Niji Natsuya Award is animators’Oshiyama Kiyotaka,Inoue Toshiyukithe sound director’sKimura Erikoof musicHayashi YukiWe have decided to give it a prize.
The work of everyone at the Buratani Niji Awards is wonderful. When it comes to awards, directors are often awarded, but the aim is to attract attention to the work of people other than the director or producer.
Shinei Video also has a long history and has consistently and carefully created films such as Doraemon and Crayon Shin-chan, but in recent years he has taken on challenging projects such as Totto-chan at the Window, Anzu-chan, and Todose! Narese! PUI PUI Molcar, which has led to the award.
–It is said that Okawa Hiroshi and Tsubaya Niji are from Niigata, and there are also a variety of projects related to Niigata.
InoueThere is a project called Niigata and Animation, and they screened and talked about works from an anime studio in Niigata (Konkichi, ProductionI.G Niigata Studio), and were also featured in Niigata director Nagai Ryuyuki.“Those who know the blue of the sky”Screening and talk, set in Sado Island, Niigata.“Let me hear Ai’s singing voice”There will be screenings and talks. In addition, there will be a symposium by the Japan Society of Animation, “What role can local regions play in animation, a core industry? Thinking about a Niigata model for value creation,” and a research presentation by Niigata University and LaSalle University of the Arts (Singapore) as a sponsored project, “Front Lines of Animation Research 2025.”
–Is there any project where Mr. Inoue himself will take the stage?
InoueI’m at the opening“Innocence”In conjunction with the screening, I will be listening to Ishikawa Mitsuhisa of ProductionI.G, and since 2025 marks the 40th anniversary of the magazine Newtype, I hope to be able to take the stage at the “Newtype 40th Anniversary Talk” and talk about the animated films that Newtype has been featured in the past.
–What do you think about the meaning and significance of the Animation Film Festival, Inoue himself?
InoueI think there are two meanings. One is that films by directors that are not normally seen, symbolized by competitions, will be screened. What’s more, it can be seen in a large amount. It is an experience unique to a film festival and I think it is very valuable. That’s why I want them to come and visit without thinking about things like, “I don’t know” or “It looks like it would be difficult.” There are many things to say about cost performance and Taipa, and recently I tend to only look at works that have a solid reputation, but it’s also important to have an experience of surprise when looking at unknown works and wondering, “What is this?” I hope that by looking at things you’ve never seen before, you will feel unexpectedly interesting.
–What is the other thing?
InoueThis is because you can listen to the conversation from a close distance to the director and those involved. During the second episode, fans were also hanging out with directors who had come to Japan after the film was screened, and an in-person Q&A was held. We are in an age where you can interact with people from far away remotely, but I think the closeness and intense communication of the film festival are also the charms of the film festival.
It takes about two hours by Shinkansen from Tokyo to Niigata. It’s also a delicious place for food, so it would be a lot of fun if you could just go out for a drink (lol), and even experience something you wouldn’t find anywhere else at the film festival.
[Niigata International Animation Film Festival Overview]
Date and Time: March 15th to 20th, 2025
Venue: T. Joy Niigata Bandai, Cine Wind, Niigata Nippo Mediaship Nippo Hall, Niigata Citizens Plaza, Kaishi Specialist University (symposium and exhibition)
Screening tickets: Adults from 1,500 yen, high school students and younger from 500 yen
¥9,900
(Prices and availability are as of the time of publication)
“Lookback” (C) Fujimoto Tatsuki/Shueisha (C) 2024 “Lookback” Production Committee
“Run Melos” (C) 1992. Dazai Osamu/Asahi Shimbun, TV Asahi, Shinchosha, Dentsu Steel Building, Visual 80
“Blue No. 6” (C) 1998 Ozawa Satoru/Bandai Visual EMI Music Japan
“Anzu-chan, a monster cat” (C) Imashiro Takashi, Kodansha/Anzu-chan Production Committee
“Innocence” (C) 2004 Shirow Masamune/Kodansha/IG, ITNDDTD
