‘All of a Sudden,’ courtesy of Cannes Film Festival
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Films From Japan Are Everywhere at Cannes 2026: Country of Honor
It has been a very good year for Japanese cinema — and Cannes is where the country has come to prove it.
In the main competition, buzz has been building around three of Japan’s previous Cannes heroes. Palme d’Or winner Hirokazu Kore-eda (Shoplifters, 2018) returns with Sheep in the Box; Ryûsuke Hamaguchi — best screenplay winner in 2021 for Drive My Car — presents his French co-production All of a Sudden; and Koji Fukada, who took the Un Certain Regard Jury Prize in 2016 for Harmonium, competes with Nagi Notes. All three films explore questions of family and friendship.
Japan is also looking ahead. On May 15, the Japan Goes to Cannes night at the Marché du Film will present five in-production projects that speak to the strength and diversity of contemporary Japanese cinema.
Among them is Kore-eda’s next film, Look Back — currently in postproduction — which traces the 13-year friendship between two girls who bond over a love of manga. It will be the director’s first manga adaptation, and the story of how he came to it says everything about the project’s pull.
“He picked it up on impulse and read the entire manga in one sitting that night,” producer Daiju Koide tells THR. “Although manga and film are different mediums, he felt a raw, urgent sense of determination from the work as a creator. He told me he could feel, almost painfully, that the author, Tatsuki Fujimoto, must have felt he couldn’t move forward without creating this piece.”
Given the source material’s popularity — and the fact that the anime version scooped an estimated $13 million from the Japanese box office — expectations are high, especially when it comes to the casting of the two much-loved central characters. The hope among fans is that the actors will be announced in Cannes.
“One of the most daunting tasks was finding the right children to portray the two leads, Fujino and Kyomoto,” says Koide. “Before the auditions began, I was genuinely anxious, wondering if children who could embody such captivating characters even existed in the real world. Yet, sitting right next to me, director Kore-eda was all smiles. As it turned out, the two we found through the auditions were truly extraordinary.”
Also being presented is The Gate of Murder, a thriller from Ko Kanai — known for popular TV dramas including Naomi & Kanako (2016). Produced by Yoshikazu Tsubaki and Kadokawa Corporation, the film follows a man haunted by a childhood acquaintance he blames for all his misfortunes, who begins plotting the man’s death.
The bullishness is well-founded. Back home, the world’s third-largest film market saw annual revenues soar 32 percent to $1.79 billion in 2025, surpassing the pre-pandemic record of $1.70 billion set in 2019. Production numbers are also at an all-time high, with 694 Japanese films released in 2025, beating the previous record of 689 (2019), while 685 were released in 2024.
Local titles did the heavy lifting at the box office: the anime monster hit Demon Slayer: Infinity Castle – Part 1 led the way with $255 million, followed by kabuki epic Kokuho ($127 million) — the highest-grossing domestic live-action film of all time — with Detective Conan: One-Eyed Flashback ($95.8 million) and Chainsaw Man – The Movie: Reze Arc ($67.8 million) also performing strongly.
‘You, Fireworks, and Our Promise,’ courtesy of Cannes Film Festival
The Goes to Cannes lineup reflects that momentum. You, Fireworks, and Our Promise (working title), an animated film from Shin-Ei Animation and SynergySP, directed by Suzuki Kei and produced by Michihiko Umezawa, follows a high school boy who discovers a drawing of fireworks bearing his name and a future date — only for the girl carrying it to vanish, replaced by her identical-looking great-grandmother from the past.
“What has always been important to us is the idea that even the smallest moments can carry a sense of warmth, humor, and sometimes a quiet sense of wonder,” says Umezawa. “You, Fireworks, and Our Promise is part of that ongoing journey. While the storyline begins with something very local, the Nagaoka Fireworks Festival, the film speaks about universal ideas of memory, time, and the way emotions can be shared across generations. At its heart, this is also a coming-of-age love story. I think one of the strengths of anime is that it allows the ordinary and the imaginative to exist naturally side by side.”
Shin-Ei Animation has previously developed a global fan base for productions, such as its long-running animated series Doraemon and Crayon Shinchan. The producer says they are all rooted in everyday life, something that a significant share of Japan’s animated content has in common, which allows “the ordinary and the imaginative to exist naturally side by side.”
“We have always been interested in how ordinary everyday life can feel vivid when you look at it from a slightly different perspective,” he says. “A simple passing moment between family members or friends can sometimes stay with you for a lifetime. Animation gives us the freedom to express those feelings in a more direct and sometimes more poetic way. It does not need to rely only on realism to feel true to life. Because of that, anime stories can travel across cultures while still feeling authentic and personal. That sense of emotional recognition across different cultures and backgrounds is one of the reasons anime continues to resonate with global audiences.”
Veteran director Takahisa Zeze (64: Part I, 64: Part II) brings mystery-drama All That Exists (working title), produced by Takahashi Naoya with sales through Toei Company. A journalist haunted by a twin kidnapping case is drawn back into the mystery 30 years later, following the death of the detective who worked it, and into the orbit of a strange realist painter.
‘Sheep in the Box,’ courtesy of Cannes Film Festival
Rounding out the lineup is Lives at Right Angles, from Syoutarou Kobayashi (Kaasan Mom’s Life), produced by Sato Gen through Toei Video Company with Hakuhodo DY Music & Pictures handling sales. The film follows Daiki, a janitor who has managed his life with autism spectrum disorder with the help of his sister — until she decides to get married, leaving him facing an uncertain future alone.
For all involved, the opportunity carries real weight. “Not only in terms of exposure, but also in how we connect with the international film community,” says Umezawa — speaking, it’s fair to say, for everyone on the lineup.
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Chinese director Niu Niu’s Final Payment scooped the Best Film Award in the Fei Mu Awards of this year’s Pingyao International Film Festival (PYIFF), while Rafiki Fariala’s Congo Boy won Best Film in the festival’s Roberto Rossellini Awards.
Final Payment, which also won Best Actor for Niu Jianrong’s performance, revolves around a homeowner clashing with a contractor over the final payment following a set of renovations on his home. PYIFF’s competition jury stated: “Tearing through a very small rip, the film leads us into a reality and emotional landscape so expansive, where we sigh, lament, and reflect. The director’s approach is concise, unpretentious, and masterful, earning the wholehearted recognition of the entire jury.”
The Best Film award came with a cash prize of $150,000 (RMB1m) with half given to the director for the development of their next film, and half given to the distributor in China. Niu Niu previously directed Mr Junjun, which was awarded with the Jury Award and Youth Jury Award at PYIFF in 2023.
Also in the Fei Mu Awards, Xu Zao won Best Director for Light Pillar, while Best Actress went to Sun Yi for Wang Xiaozhen’s A Joke. The Jury Award was presented to Dong Jie’s Zoom In, Zoom Out, which had its world premiere in Venice Critics Week, while a special mention went to Cai Chengjie’s Suzhou Quartet.
The Fei Mu awards are focused on the festival’s Hidden Dragons section, which selects first, second and third films from emerging directors making Chinese-language films, while the Roberto Rossellini Awards focus on the Crouching Tigers section for emerging international directors.
Congo Boy, which took Best Film in the Roberto Rossellini Awards, also won Best Actor when it premiered in Un Certain Regard at this year’s Cannes film festival. The PYIFF award came with a cash prize of $20,000, with half given to the director for the development of their next film, and half given to the distributor in China.
The PYIFF jury stated: “The Jury unanimously has been moved by this autobiographical story, told in a simple style that echoes the great tradition of neorealism. For a film focusing on a character that confronts his world with optimism despite dark times and takes on his shoulders the destiny of his entire family.”
Also in this section, the Philippines’ Rafael Manuel won Best Director for Filipiñana, while the Jury Award went to Ben’imana, directed by Marie-Clémentine Dusabejambo, which won the Camera d’Or at this year’s Cannes. The jury also awarded Rakan Mayasi’s Yesterday The Eye Didn’t Sleep a Special Mention.
Hong Kong filmmaker Ann Hui received the Crouching Tiger Hidden Dragon East-West Award, shortly before she receives the Camellia Award at Busan International Film Festival next week.
Pingyao’s International Contribution To Chinese Cinema Award went to Marco Müller, who founded the festival with Chinese auteur Jia Zhangke and currently serves as Artistic Director of the Film Art Research Centre at Shanghai University, and veteran producer, director and former chairman of China Film Group Han Sanping. Hello Group chairman Tang Yan was presented with a 10th Anniversary Award.
This year’s PYIFF opened on September 24 with a screening of the 4K restoration of Fei Mu’s Spring In A Small Town; closed with Good Trip, co-directed by Hong Kong filmmakers Norris Wong and Hoi Wong, and also screened Jia’s short film Torino Shadow, which premiered at this year’s Cannes.
PINGYAO INTERNATIONAL FILM FESTIVAL 2026 AWARDS:
FEI MU AWARDS:
Best Film: Final Payment, dir: Niu Niu
Best Director: Xu Zao, Light Pillar
Best Actress: Sun Yi, A Joke, dir: Wang Xiaozhen
Best Actor: Niu Jianrong, Final Payment, dir: Niu Niu
Jury Award: Zoom In, Zoom Out, dir: Dong Jie
Special Mention: Suzhou Quartet, dir: Cai Chengjie
ROBERTO ROSSELLINI AWARDS:
Best Film: Congo Boy, dir: Rafiki Fariala
Best Director: Filipiñana, dir: Rafael Manuel
Jury Award: Ben’imana, dir: Marie-Clémentine Dusabejambo
Special Mention: Yesterday The Eye Didn’t Sleep, dir: Rakan Mayasi
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SPOILER ALERT! This post contains details from Tuesday night’s episode of Dancing with the Stars.
It’s another exciting night in the ballroom as 13 contestants are still eyeing the Len Goodman Mirrorball Trophy during Week 3 of Dancing with the Stars.
Last week, the judges reinforced just how tough they are going to be this season, once again declining to score anyone above a 7. Still, three couples — Jenna and Val, Ezra and Daniella, and Amber and Pasha — walked away tied for the top of the leaderboard with 21 points. We also said goodbye to Alan Bersten and chef Giada De Laurentiis.
Week 3 is Yacht Rock night, so the remaining couples are performing to hits from artists including Fleetwood Mac, The Doobie Brothers, and Luther Vandross.
Here is how the night went.
Olympian Amber Glenn with Pasha Pashkov danced a Foxtrot to “Hold the Line” by Toto. SCORE: 24
Actress Julia Stiles with Ezra Sosa danced a salsa to “I Can’t Go for That (No Can Do)” by Daryl Hall & John Oates. SCORE: 19
Late-night sidekick Guillermo Rodriguez with Whitney Carson danced a Foxtrot to “Escape (The Piña Colada Song)” by Rupert Holmes. SCORE: 15
Actress Tatyana Ali with Jan Ravnik performed a Quickstep to “Maneater” by Daryl Hall & John Oates. SCORE: 21
Actor Harry Shum Jr. with Jenna Johnson performed a jive to “You Make My Dreams Come True” by Daryl Hall & John Oates. SCORE: 24
Musician Taylor Hanson with Britt Stewart danced a Foxtrot to “What a Fool Believes” by The Doobie Brothers. SCORE: 18
Reality star Maura Higgins with Mark Ballas danced a Quickstep to “Turn Your Love Around” by George Benson. SCORE: 22
Reality star Ciara Miller with Brandon Armstrong performed a Cha Cha to “Never Too Much” by Luther Vandross. SCORE: 18
Savannah Bananas midfielder Jackson Olson with Emma Slater performed a paso doble to “Easy Lover” by Philip Bailey and Phil Collins. SCORE: 18
Comedian and podcaster Connor Wood with Rylee Arnold danced a Foxtrot to “Everywhere” by Fleetwood Mac. SCORE: 20
Actress Jenna Dewan with Val Chmerkovskiy danced a samba to “Africa” by Toto. SCORE: 21
Reality star Tyler Cameron with Sharna Burgess danced a jive to “Still the One” by Orleans. SCORE: 17
Paralympian Ezra Frech with Daniella Karagach danced a Foxtrot to “Just the Two of Us” by Grover Washington Jr. featuring Bill Withers. SCORE: 21
Who goes home?
The competition is now down to 12 as Taylor Hanson and Britt Stewart were sent home. Next week is all about Mariah Carey, so the couples will perform a variety of the pop superstar’s biggest hits.
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Another hockey book adaptation has entered the chat.
Netflix is currently building out its cast for the series adaptation of Hannah Grace’s Icebreaker book that kicks off the Maple Hill series. This in addition to their show The Sticks that is also currently in the works.
For everything we know about Netflix’s Icebreaker book adaptation so far, read on.
When will Netflix’s Icebreaker series adaptation come out?
A release date has not yet been set. The show has begun to assemble its cast.
Who will lead the Icebreaker show at Netflix?
Daisy Jelley (Poser, How To Have Sex) will portray Anastasia “Stassie” Allen, and Connor Simos (Subversion) will portray Nate Hawkins in the college hockey drama series.
Who else is in the cast of Netflix’s Icebreaker adaptation?
Gabriel Tierney (Rivals, Enola Holmes 2), Auliʻi Cravalho (Moana), newcomer and professional athlete Peter Berry, Chaneil Kular (Best of the Best, Sex Education), Devin Craig (Sex Lives of College Girls, Maize) and Aidan Shaw (We Were Liars, Heated Rivalry, Finding Her Edge) have joined the ensemble cast.
Tierney will play Aaron; Cravalho will portray Lola; Berry is Robbie; Kular will play JJ; Craig will portray Henry and Shaw is Russ.
What is Hannah Grace’s Icebreaker book about?
Stassie is a transfer athlete gunning for Olympic gold. Nate is the campus star chasing the NHL. When an accident forces their teams to share one rink, Anastasia Allen and Nate Hawkins collide—and discipline gives way to obsession, because the only thing more dangerous than wanting to win is wanting each other.
Who else is behind Netflix’s Icebreaker series?
Jade Halley Bartlett (Road House, Doctor Strange in the Multiverse of Madness, Miller’s Girl) created and executive produced the series. Amanda Lasher (Gossip Girl, The Bold Type, Togetherness) serves as showrunner, writer and excutive producer. Grace also executive produces along with Alex Cooper, Matt Kaplan and Mina Lefevre for Cooper’s Unwell Productions.
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