The JFF 2024 Diary: A Tremendous Month of Japanese Media

The Japanese Film Festival Online (JFF), which started on the 5th of June, came to an end on the 3rd of July. Thanks to the Japan Foundation, it was a month full of Japanese content — and I fell madly in love with some of the titles they had to offer.

[If you want to learn more about the festival, I’d recommend reading our complete article on this year’s edition.]

The Japan Foundation has announced a brand-new, free streaming platform for Japanese films and videos called the “JFF Theatre”. The lineup has yet to be disclosed, but the platform should be released on the 1st of August, and you’ll be able to access it from anywhere, and all content will be offered with multilingual subtitles. I’ll be updating this post as more specific information comes out, but you can also subscribe to their newsletter to hear more from them.

With the new JFF Theatre coming up, I thought I would share a bit of my experience with the Japanese Film Festival Online. After watching each production, I wrote a quick comment with my thoughts, which I’ll be sharing with you below. No major spoilers ahead, so I hope you enjoy it!

JFF 2024: The Platform

The platform itself was incredibly easy to use. Especially if you had already organised a watchlist in advance like me, it was quick and simple to find your favourite title. You’d log in and immediately see a selection of films you could watch. From there, it was just about accepting the terms and conditions and clicking on “Watch Now”. All content was offered in HD quality (I watched it both with a projector and a 27″ monitor and didn’t have any problems), and switching subtitles was very accessible too.

JFF 2024: What I Watched (and Loved)

Synopsis: Miyazawa Koichi (Yakusho Koji) is the CEO of a town factory that manufactures tabi, that is, traditional Japanese socks. Passed down through several generations, the company is now struggling since the demand for tabi has decreased over the years. Determined to save his family’s business, Miyazawa decides to develop new sports shoes. Putting together his own experience with the background of a long-distance runner he meets, Miyazawa needs resilience and persistence to overcome the hurdles and save his factory.

Inspiring, compelling, and moving, Rikuoh was such a huge pleasure to watch. I think that if I’d had enough free time, I might have binge-watched all 10 episodes all at once since it was such an entertaining show.

Rikuoh is nothing more, nothing less than an ode to perseverance, hard work, and the human spirit. Yakusho Koji once again proves to be born to act, navigating all sorts of scenes and delivering a nuanced portrayal with unbelievable ease. The script is almost flawless: the plot is perfectly structured, the dialogue is sharp and heartfelt, and the characters go through a solid character arc. The cinematography does its best to highlight the heart and soul of the show: our feet and how far they can take us if we are brave enough to continue running despite the obstacles.

Our protagonist, Yakusho’s Miyazawa Koichi, is the kind of character that enchants: his leadership skills, his respect towards his employees, and his courage when facing hardship make him one of the best male leads in the history of Japanese TV. Beyond Miyazawa, Rikuoh is populated by charismatic characters who fight, fail, and evolve right in front of our eyes. Takeuchi Ryoma is another actor who deserves praise for his perfect portrayal of Mogi Hiroto, a runner who needs to defeat his own pride and the limitations that his body dictates to reach his goals. Takeuchi’s performance is subtle and imposing at the same time, mixing stubbornness, diligence, and kindness and delivering some emotional scenes with prowess.

Miyazawa’s journey towards his dream is anything but easy, and, beyond the resilience of the human spirit, his path towards creating his dream running shoes, the Rikuoh, is defined by the bonds between the secondary characters. From his son Daichi (Yamazaki Kento) to Misaki (Yoshitani Ayako), the youngest seamstress in his company, Miyazawa is surrounded by people who have their own pains and fears but don’t let themselves be defined by them. By working together, keeping an open line of communication, and being open to growth and change, they illustrate the incredible power of human connection and support systems.

You can’t help but cheer them on, cry with their struggles, and rejoice with their triumphs. With everyone and every hurdle being so relatable, the universe of Rikuoh feels lived in, tangible, and full of well-rounded characters that not only become your friends but also your heroes. Fukuzawa conducts an attentive combination of performance, music, editing, and cinematography that strengthens a powerful script and leads to a resonant, motivating, and uplifting show that stays with you for a long time even after you finish watching the last episode.

You can watch Rikuoh on:

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Synopsis: Based on Tsutomu’s essay on food and the beauty of the four seasons in Japan, this is the story of Tsutomu (Sawada Kenji) himself, a writer who lives alone in a mountain cabin with his late wife’s ashes. He grows his own vegetables and cooks his own meals. As the seasons pass, he writes his books. Every now and then, he receives a visit from his editor and girlfriend, Machiko (Matsu Takako). They have a simple but lovely time together. His contentment, however, might hide some unresolved feelings since he still can’t bury his wife’s remains, even after 13 years of her death.

The Zen Diary is a quiet, slow-paced film in which the environment is the protagonist. Visually, there are lots of wide shots that highlight the importance of the countryside to Tsutomu, with lots of inserts of plants and animals that show us how magical nature seems through his eyes.

Close-ups of people are so rare that they feel a tad dissonant when they do show up. They aren’t particularly needed anyway since The Zen Diary is an uncomplicated movie without major twists or conflicts.

Both Sawada Kenji and Matsu Takako give elegant, gentle performances, letting the cooking and the environment take the spotlight most of the time.

It’s clearly based on an essay, as Nakae decided to give the feature a very literary structure. The Zen Diary could very well be a kind of documentary since the display of Zen cuisine and customs is so prominent — so if you’re interested in the topic, this is a very interesting watch.

You can watch The Zen Diary on:

Synopsis: Back in the Edo period, Koshiro (Kamiki Ryunosuke) grew up as the son of a loving father in Echigo. He lives peacefully as a commoner until, one day, he finds out that he’s actually the descendant of the shogun Tokugawa Ieyasu. His biological father, Lord Ikkosai (Sato Koichi), has retired, forcing Koshiro to take over his domain. What seems to be luck at first turns into a nightmare when Koshiro realises that his father is drowning in debt and asks him to declare bankruptcy.

A healthy dose of my dear Kamiki!

We’re Broke, My Lord! is a delightful, warm-hearted comedy on cherishing life and sticking by the people you love.

Visually, We’re Broke, My Lord! is a pleasure to look at: everything is so colourful and bright, and the camerawork is perfectly comical. The eventual breaking of the 4th wall makes you feel like you’re in on a little secret, and slowly but surely, you fall in love with Koshiro, his friends, and his siblings.

The story itself progresses at a good pace and doesn’t depend on overly melodramatic conflicts. Kamiki Ryunosuke and Sugisaki Hana have excellent chemistry together and are both hilarious and moving at the same time. Their characters, Koshiro and Sayo, respectively, are flawed, kind-hearted, and so incredibly determined, which makes you root for them almost instinctively.

A really enjoyable watch that doesn’t take itself too seriously and delivers exactly what it promises: a couple of hours of laughter and smiles that leave you with a lovely warmth in your heart.

You can watch We’re Broke, My Lord! on:

Synopsis: After Aoyama Sousuke (Yokohama Ryusei) tragically loses his parents, he meets Shinoda Kozan (Miura Tomokazu), a suibokuga (India-ink painting) artist. That encounter sparks Sousuke’s curiosity, and he becomes Kozan’s disciple. What starts as a superficial interest becomes Sousuke’s lifeline as he discovers a passion he never thought he had.

When I say that I fell madly in love with this film, I’m not joking.

Beautifully shot and delicately directed, The Lines that Define Me is a marvel of a story that pays homage to the healing ability of art.

It’s a tale of finding or, better yet, of creating yourself through art. The score is a work of art in and of itself (it’s on Spotify and I’ve been listening to it for weeks now), and the cinematography is nothing short of stunning, taking full advantage of the organic shapes of nature and ink as well as the power of light.

All of these aspects are held together by a poetic and touching script that is well-delivered by a talented cast. Yokohama Ryusei and Kiyohara Kaya fully display their dramatic acting chops, handling even heavier scenes with heart and subtlety.

The Lines that Define Me is one of those films that reminds you of the power that art has to convey our innermost feelings and ideas, and how it can move, heal, and change you.

You can watch The Lines that Define Me on:

Synopsis: Miyazawa Masajiro (Yakusho Koji) is the current owner of a pawn shop that has been passed down through generations. He raises his eldest son, Kenji (Suda Masaki), to be his heir and take over the shop. However, Keiji refuses to follow in his father’s footsteps and decides to run away from home, dedicating himself to religion instead. When his wise and sweet sister Toshi (Mori Nana) falls ill, Kenji tries to rewrite their family history.

Father of the Milky Way Railroad is a moving tale of growing up and parenting. A fictionalised version of Kenji Miyazawa’s life, this film turns his persona and his familial relationships into poetry itself.

Making use of his writings and giving all main characters kindness and gentleness, Father of the Milky Way Railroad makes you wonder what you could be doing for your fellow man and helps you cherish the relationship with your own parents and children.

Yakusho Koji and Suda Masaki’s chemistry is palpable, and their performances bounce off and bring the best out of each other. Their delivery is passionate; their emotions come to the surface candidly and openly. Alongside Mori Nana’s warm-hearted Toshi, Yakusho and Suda are the beating heart of this script.

Extraordinarily directed, it makes excellent use of handheld shots and deep space compositions that connect characters, environment, and most importantly, actions and reactions.

Warning: It’s a tear-jerker. Bring your tissues.

You can watch Father of the Milky Way Railroad on:

Synopsis: One day, Mugi (Suda Masaki) and Kinu (Arimura Kasumi) meet by chance, and, through sharing their love for music and films, they become friends. Soon enough, they fall in love. This is the tale of their romance as they navigate the best days of their youth, the demands that come with growing up, and everyday life.

I’m a K-drama + J-drama fan, yes, and I’m still awfully picky when it comes to romantic films.

Romantic films, no matter how fantastical they may be, should always have a tinge of realism. The romance needs to blossom naturally. Otherwise, I just can’t connect with it.

We Made a Beautiful Bouquet belongs to the greatest category of romantic film: the sort that feels so real it gets under your skin.

Suda Masaki and Arimura Kasumi make the perfect couple as their chemistry sizzles in the early stages of Mugi and Kinu’s relationship and becomes a warm, human bond of fellowship by the end. As a character-driven film, Suda and Arimura have to carry this script on their shoulders. They are both so ridiculously talented that they pull this off as if it’s child’s play. The story is so heavily dependent on them that any supporting cast feels almost like a guest role. Putting together an excellent script and their accomplished performances, Mugi and Kinu are well-rounded characters that we fall in love with but, most importantly, that we understand and relate to.

There’s no escaping: Mugi and Kinu are us. If you’ve ever been in love, it’s impossible not to see yourself as them.

The film plays out like a book of sorts as both sides tell their own versions of the same events: you feel the joy in the coincidences and the frustration in the lack of communication. The script fleshes out the reality of love with poignant beats and organic dialogues. Finally, cinematography serves the story perfectly, highlighting Suda and Arimura’s performances and visually establishing the different stages of their connection very clearly.

The film is also incredibly fun for Japanese media fans, as you ohhh and ahhh throughout with all sorts of references and songs, from GReeeeN and Kinokoteikoku to Zelda and Makoto Shinkai.

An incredible watch if you’re looking for an engaging film that will make you reflect on your own relationships.

You can watch We Made a Beautiful Bouquet on:

Synopsis: Yamada Tamako (Kaga Mariko) lives with her autistic son, Tadao (Tsukaji Muga). Even though she does her best to help him develop skills that would allow him to live independently, her neighbours still complain about him. Tamako decides to move Tadao to a room in a group home, but the change proves to be more difficult than expected.

Spanning for a little over one hour, The Lone Ume Tree is a short, sweet story that makes us reflect on the prejudices and struggles that neurodivergent people face.

Tsukaji Muga interprets Tadao’s autism with finesse and personality, and we also need to mention the adorable next-door neighbour Sota, played gracefully by Saito Taiyo. It’s his unprejudiced eyes that create an even deeper contrast with the other characters who are quick to judge Tadao’s behaviour.

The Lone Ume Tree is a heartwarming tale played out in a relaxing structure with a wonderful cast. A film that won’t stress you in any way but will surely leave you with food for thought.

You can watch The Lone Ume Tree on:

Synopsis: Sayama Urara (Ashida Mana) is a socially awkward 17-year-old high-schooler who becomes friends with the recently widowed 75-year-old Ichinoi Yuki (Miyamoto Nobuko) thanks to their shared love for BL manga. Despite their age gap, their friendship brings light and healing to both their lives.

BL Metamorphosis is a slice-of-life film that illustrates the power that art has to bring anyone together. Not only different people, regardless of age, nationality, or gender, but also how it connects us to our own selves and ignites emotions long forgotten.

Art can, after all, save us, move us, and enlighten us.

Sayama and Ichinoi are both saved from their loneliness, fears, and concerns by reading manga. Both Ashida Mana and Miyamoto Nobuko give this cute aspect to their characters, and they respond very well to each other’s quirks and style. Their dynamic and their passion for BL manga are exciting to watch.

The script also introduces the pains and joys of both youth and old age through sincere and gentle dialogue and a story that’s easy to follow and not overly dramatic.

You can watch BL Metamorphosis on:

Synopsis: Saito Hitomi (Yoshioka Riho) is working on her very first anime, “Soundback”. The production process is tricky, and she finds herself at odds with her producer, Yukishiro Osamu (Emoto Tasuku), and the rest of the staff. At the same time, veteran animation director Oji Chiharu (Nakamura Tomoya) teams up with producer Arishina Kayako (Ono Machiko) to release his first show in 8 years. Both Saito and Oji’s shows are set to be released on the same date, which leads to the question: Who will reign the animation world and receive the “Haken” title?

I found that this year’s JFF had a very clear theme: the power of art. I knew that Anime Supremacy! would be one of the titles that would highlight that theme, but it surprised me. A lot.

I’m not sure exactly what I was expecting. But Anime Supremacy! bewitched me, creating a universe that allowed me to relate to these characters. I found myself next to Hitomi on her balcony, crying with her, and celebrating with Osamu during the post-credits scene.

Anime Supremacy! focuses on the animation itself, and Yoshino’s direction transformed this live-action feature into a very anime-like film. It’s a fun, fast-paced feature with some very, very appropriate design choices.

The script has its dramatic beats but never becomes so melodramatic as to cause you to disconnect from the tale. Yoshioka Riho portrays Hitomi with sincerity, and if you’ve ever tried to create anything with a group of people, you’ll respond to her struggles as she tries to defend her own ideas while giving enough space for others to contribute. It’s beautiful to see Hitomi grow from a fearful, insecure young woman into a determined, more self-confident professional.

The entire cast delivers: Yoshioka is very well supported by Emoto Tasuku, playing a character that blossoms right in front of our eyes. Our female lead also contrasts with Nakamura Tomoya’s more experienced, more reckless attitude, which ignites the main conflict of this script.

Beyond superficial conflicts, Anime Supremacy! is a tribute to the hard work of thousands of people who dedicate their lives to the difficult craft of animation, but also a tribute to the power that stories have to portray, validate, and move us. It reminded me why I studied filmmaking and now do this: because art can and does represent and change us.

You can watch Anime Supremacy! on:

Synopsis: Abused by her parents and suffering from depression, Mariko (Nao) has one person she can rely on: her best friend, Shiino Tomoyo (Nagano Mei). When Mariko falls to her death, a heartbroken yet determined Tomoyo retrieves her ashes and sets off on one final journey to finally set her broken Mariko free.

My Broken Mariko is a slow-paced but fierce story that reflects the intensity of platonic love and the tragedies that may live next door. It highlights the darkness, the turmoil, and the everyday aftermath of abuse and depression, along with the importance of there being loved ones, regardless of any blood relations, who will cherish and assist us in our bleakest days.

Visually, Tomoyo’s journey with her beloved Mariko is a stunning blend of blues, yellows, and browns. This is a road trip sort of movie, in which our protagonist’s trip towards the sea physically represents her quest through grief and towards acceptance.

Nagano Mei is another one of those unbelievably talented actresses who can do anything. Here, the joy and spark of previous characters such as her performances in It’s a Flickering Life, Daytime Shooting Star and the wonderful asadora Hanbun, Aoi disappear. Nagano gives such depth to her delivery: her gloomy everyday life is suddenly shaken by the loss of her best friend, and you see her confusion, pain, rage, determination, and, most importantly, love take different shapes throughout her one-and-a-half-hour journey as Tomoyo.

A powerful film headed by Nagano’s mighty performance, My Broken Mariko is perfectly timed and guided by a tight script that brings the manga to life with grace and prowess.

You can watch My Broken Mariko on:

So which films from the JFF Online did you watch? Share your own experience in the comments!