4,600 Buyers Expected as Tokyo Content Market Doubles Down on Japanese IP

Tokyo’s content market is betting big on the global hunger for Japanese storytelling. As the industry grapples with streaming budget cuts and the rise of artificial intelligence, TIFFCOM is positioning itself as the central hub for buying and selling intellectual property. The market expects to match or exceed its 2025 attendance of 4,600 visitors and 300 exhibitors this year.

The momentum builds on a rapid expansion since 2025. Last year, the event recorded strong growth in both participant numbers and seminar offerings. This year, the lineup features bigger industry names and a widened scope that includes anime, manga, and gameshow properties. The success of productions like Shōgun has fueled this interest, coinciding with a record 43 million visitors to Japan in the past year.

Kaori Ikeda, managing director of TIFFCOM, attributes the growth to a convergence of cultural factors. She notes that Tokyo serves as a gateway for a culture that is currently at peak international appeal. Ikeda, who has held the role for three years, previously worked at Asmik Ace, J:COM, and DreamWorks. Her background in acquisitions, including titles like Trainspotting and Dead Man Walking, informs her current strategy.

A centerpiece of this year's event is Tokyo IP Market: Adaptation & Remake. This initiative relaunched last year as a broader version of the former Tokyo Story Market. The shift moved the focus from book adaptations to a wider array of rights holders. This year, the market includes film companies Toei and Shochiku, as well as toy maker Takara Tomy. Ikeda states the initiative has major backing from the Japanese government and industry.

TIFFCOM also exported this concept to Cannes, where Japan was the Country of Honour at the Marché du Film. Ikeda describes the venture as a success that connected international producers with Japanese rights holders. She plans to repeat the effort, with a specific goal of involving smaller publishers who have limited experience in the global market.

The upcoming sessions include "Unlocking the Global Potential of Japanese IP." The panel will feature Shinzo Matsuhashi, producer of Kokuhō and Kingdom, Steven Maeda of Netflix’s One Piece, and Buddy Marini, head of Amazon MGM Studios Japan. These speakers represent the high-profile talent drawn to the market this year.

Artificial intelligence enters the program for the first time as a keynote topic. Executives Chris Brearton and Dominic Hughes from AGBO will present on technology and storytelling. Ikeda says the team is thrilled to include this segment. The Association of Japanese Animations will also present annual industry data, while TV stations will share case studies on overseas format sales.

The Tokyo Gap-Financing Market, now in its seventh year, continues to link partially funded projects with production partners. Two productions completed from last year’s event will screen in the Crosscut Asia+ section. One of these, the animated film The Violinist, found an Italian partner at the 2023 event. The film won the top prize at Annecy this year.

The wider industry landscape is shifting with the popularity of short dramas and the disruption caused by AI. Ikeda acknowledges the changing dynamics, noting that streamers are trimming budgets. She says the market is adapting to be a better place for business meetings and networking. TIFFCOM runs from Oct. 28 to 30 at the Tokyo Metropolitan Industrial Trade Center Hamamatsu-kan.