Interview with Alex Oost: The main purpose of the festival is to showcase a diverse selection of Japanese films in the Netherlands.

We speak with Alex Oost, director of Camera Japan about the purpose and the history of the festival, its processes, Japanese cinema, and other topics.

Alex Oost is festival director and one of the founders of the annually held Camera Japan Festival. He holds degrees in accounting and Japanese studies, and tries to combine both in his daytime job. In his free time, he tries to balance watching films and going to concerts with running a festival, which he managed to do so for 12 years.

We speak with him about the purpose and the history of the festival, its processes, Japanese cinema, and other topics.

Why did you decide to start a festival about Japanese cinema, and not any other region? What is the purpose of the festival?

There were not many Japanese films being screened in cinemas in the Netherlands when we started the festival, and since I and my fellow initiators are big fans of Japanese cinema, we decided to do something about it ourselves. The main purpose of the festival is to showcase a diverse selection of Japanese films in the Netherlands.


Why did you choose Rotterdam and Amsterdam as the bases of the festival? Why two different locations? What are the benefits and what the issues with the particular choices? How hard is it to transfer the festival from one city to another, and what are the differences between the two (audience, venues, etc).?

We chose Rotterdam because that is where I am based and where the biggest part of our network is, and from the very first edition, we screened a number of films in Amsterdam as well.

Not many people are willing to travel to watch films, so we chose to show films in the two biggest cities in the Netherlands. If we could do something similar in other cities we would, but since every one of us has other jobs and responsibilities, I don't see this happening any time soon.

The benefit of two events in two cities is that we can attract more visitors, the downside of it is that is a lot of extra work.

Our main event is in Rotterdam in a very nice, newly built, spacious arthouse cinema, this is where we also have other events besides film screenings such as live concerts, dance performances, exhibitions, workshops and a kids day. The event in Amsterdam is about one fifth the size of the Rotterdam event, so it is much smaller and we basically only screen films there in a venue run by students. Since the venue is close to the University of Amsterdam, we have more students attending compared to Rotterdam. Because the event in Amsterdam is smaller, there is a lot less things to take care of (or we can re-use some things from our main event). So, in Amsterdam is where many of our team members find the time to watch some films themselves, for which there is hardly any time for in Rotterdam.

Can you analyze the procedure of the film selection for the program?
The programme as a whole should give a good insight on what is going on in Japanese cinema nowadays, and a number of these have to be connected with our theme of the year. We work with a team of programmers who watch films at other festivals or via screeners. And we work with a shortlist of films we think might be interesting to screen at our festival, and try to get a hold of those.

After films are watched by at least 2 persons, we discuss and make a decision on whether or not to screen the film.

The festival also entails events that have to do with music and art in general, the culinary, and also a number of workshops. Why did you decide to include these in the festival and how do you select which ones to endorse? In general, can you elaborate on the extra activities of the festival?



We feel that by including music, dance, art, food, and lectures and workshops, we give our visitors more insights in various aspects of Japanese culture. Plus, it strongly enhances the festival atmosphere and we may be able to attract different audiences. For example, for the Kids' Day, music or dance performances, or particular workshops.

Can you tell us a bit about the financial status of Camera Japan? Is the festival successful in that aspect?
The festival is, for a big part, dependent on grants provided by national or local organisations, and without them it would not be able to exist. In that sense, it is not commercially successful. With the limited means we have at our disposal, we have been able to hold the festival for 12 years without going bankrupt, so that might be considered financially successful. The limited financial means we have make it impossible to have anyone on the payroll.

Camera Japan has been on for 12 years. Are there any episodes in the history of the festival you single out? Good and bad.



A major event was the first edition, when we made it really happen. None of us had any experience in organising something like this, so that was a major thing. Another edition which was a bit risky was the 2010 edition when we moved to a new location, which was still under construction when the festival was held. I know that the people of the venue were quite worried and feared the worst, and some things didn't go as planned, but all things considered, I was very pleasantly surprised at how smoothly everything went.

Not one single bad episode, but one general one is that we have to start almost from scratch every year when it comes to finances. We do not get any structural funding and sometimes we have the go- no go moment only a few months before the festival is scheduled to take place.

In your opinion, how did the festival manage to keep on for 12 years and what is the recipe for its success?
That is easy, we have a great team! Members might change over the years, but we always had good and dedicated team members who are willing to sacrifice their precious spare time to make the festival happen. And I think the team has gotten stronger (and bigger) the past few years.

And we have some financial backers who like the festival a lot such as the City of Rotterdam and the Dutch Film Fund.

What is your opinion of Japanese cinema at the moment (anime and live-action), and its penetration in Europe? Are there any individual filmmakers or that stand out?
For anime, it is great to see that some wonderful films have been made the past few years, after MIyazaki/Takahata announced their retirement, to confirm that Japanese animation is more than the studio Ghibli films. 

As for live-action, I love it that every year we see some very strong films made by young directors. I would like to say that some veteran filmmakers continue on making great films, but I find myself often saying that I prefer a certain directors older work over their recent productions. So I guess that means that currently no individual filmmakers stand out for me.


How do you imagine the future of the festival, and what are your plans for the next editions?
We pretty much work year by year and we cannot plan much further ahead, mostly because we do not know what our budget is going to be. Not because of a lack of ideas, we have plenty of those!

I would like to include some more and bigger music, dance and theater performances at the festival, but since all of these  require quite a lot of funding, I do not foresee that happening any time soon. So until then, we will focus on what we do best, screening a wide and diverse selection of Japanese films.

COMMENTS

Name

13 Assassins,1,2017,3,A Company Man,1,A few words about us,1,A Lonely Cow Weeps at Dawm,1,A Love,1,A Man Vanishes,1,A Simple Life,1,A Single Rider,1,A Stone from Another Mountain to Polish Your Own Stone. Go Shibata,1,A Tale of Love,1,A Whale of a Tale,1,About Elly,1,Adam J. Symchuk,20,Adam John,6,Aditya Vikram Sengupta,1,Adriana Rosati,4,Age of Innocence,1,Akihiko Shiota,1,Akira Kurosawa,1,Akiyuki Shinbo,1,Ale Amout,1,Alex Oost,1,Alexander Knoth,1,Ali Asghar Vadayeh Kheiri,1,Amir Masoud Aghababeian,1,Amitabh Reza,1,Anand Singh,2,Andrew Thayne,4,Andy Willis,1,Anime,1,Animesh Aich,1,Ann Hui,1,Anna Bliss,3,Anshul Chauhan,2,Anurag Basu,1,Aqerat,1,Arang,1,Ariyuki Shinbo,1,Armour of God,1,Arrow,2,Art Film Fest Kosice,1,Article Films,1,Asghar Farhadi,1,Asha Jaoar Majhe,1,Asian Classics,19,Aya Itabe,1,Aynabaji,1,Bad Poetry Tokyo,4,BAMY,1,Bangkok Nites,1,Bangladesh,3,Banjong Pisanthanakun,1,Banmei Takahashi,1,Before We Vanish,1,Behind the Camera,1,Belgium,1,Ben Stykuc,5,Bengal,1,Bhutan,1,Billy Joe,2,Black,1,Bloody Muscle Builder in Hell,1,Bollywood,1,Branded to Kill,2,Breathless,1,Burma,1,Burning Birds,2,Bystanders,1,Cambodia,2,Camera Japan,10,Children Heaven,1,China,6,Chinese Policy Institute,6,Chinese Visual Festival,1,Choi Jin-ho,1,Choi Jin-won,1,Chris Berry,1,Chu Yuan,1,Chungking Express,1,Close-Knit,1,Coffeemates,1,Colette Balmain,7,Competition,1,Confessions,1,Creative Visions: Hong Kong Cinema,1,Crocodile,1,Crows Zero,1,Cyrano Agency,1,Daguerreotype,1,Daigo Matsui,1,Daisuke Gotô,2,Daisuke Miyazaki,3,David Chew,3,David Chew.,1,David Shin,1,Ddongpari,1,Dead Friend,1,Dead Sushi,1,Deadly Outlaw: Rekka,1,Deepak Rauniyar,1,Destruction Babies,1,Diary of June,1,Digger,1,Ding Shen,1,Dismembered,1,Documentaries,6,Documentary,2,Doenjang,1,Don Anelli,18,Double Life,1,Dr. Heo,1,drama,1,Duelist,1,East Winds Film Festival,1,Edmund Yeo,3,Educating Yuna,1,Eiji Uchida,1,Emmanuel Horlaza,1,Erotic Diary of an Office Lady,1,Eureka,2,Exploitation,25,Fabricated City,1,Faye Wong,1,Features,18,Feautures,1,Fel,8,Festivals,5,Filmdoo,6,Fireworks,1,Fireworks Should We See It from the Side or the Bottom?,1,Five Flavors Festival,2,Five Flavours Festival,3,Flying Fish,1,Forgetting Vietnam,1,France,1,Fraser Elliott,1,Funeral Parade of Roses,1,Fuyuhiko Nishi,1,Gillian Anderson,1,Golden Horse Awards,1,Good -Bye Silence,1,Goro Miyazaki,1,Hanagatami,1,Hanuman,1,Hashiguchi Takaaki,1,Haunters,1,Helsinki Cine Aasia Festival 2018,1,Hidden Gems,34,Hideo Sakaki,1,High-Kick Girl,1,Hindi,1,Hirokazu Koreeda,3,Hiroshi Ando,1,Hiroshi Teshigahara,1,Hong Kong,4,Horror,2,I Wish,1,I-Lin Liu,8,ICA,3,Im Kyeong-soo,1,Imran Firdaus,1,In this Corner of the World,3,Indonesia,4,Interview,1,Interviews,23,Intimate Confessions of a Chinese Courtesan,1,Inugami,1,Iran,7,Ishmael Bernal,1,Isora Iwakiri,1,Jackie Chan,2,Jagga Jasoos,1,James Mudge,1,Japan,117,Japan Cuts,14,Japan Filmfest Hamburg,1,Japanese Film Festival Australia,1,Jeong Jae-eun,1,Jess Teong,1,Jimmy Henderson,2,Jithin K Mohan,1,Joe Odagiri,2,Johnnie To,1,Joko Anwar,1,Jonathan Wilson,6,Joo Ji-hong,1,Journey of the Tortoise,1,Jun Tanaka,1,Jung Yoon-suk,1,Junichi Kajioka,1,Junpei Mizusaki,1,K-dramas,12,Kaneto Shindo,1,Kang Je-gyu,1,Kang Yoon-Sung,1,Katsuya Tomita,1,kdrama,1,Kei Chikaura,1,Kei Ishikawa,1,Kengo Yagawa,1,Kenichi Ugana,1,Kill me,1,Killing Beauty,1,Kim Eun-hee,1,Kim Hong-seon,1,Kim Hyun-seok,1,Kim Jee-woon,1,Kim Ki-duk,1,Kim Kih-hoon,1,Kim Min Su kII,1,Kim Min-suk,1,Kim Tae-kyeong,1,Kingyo,2,Kirti Raj Singh,1,Kiss me,1,Kiyoshi Kurosawa,3,Koji Wakamatsu,1,Komiya Masatetsu,1,Kon Ichikawa,1,Konrad Aderer,1,Korea,1,korean drama,1,Krzysztof Pietrzak,1,Kun-Yu Lai,2,Kwak Kyung-taek,1,Kyoko Miyake,1,Kyriacos Kyriacou,2,Lady Snowblood,2,Laos,1,Lee Je-Yong,1,Lee Joo-young,1,Lee Jung-sun,1,Lee Myung-se,1,Lee Seo-goon,1,Leung Wing-Fai,1,Like Father,1,Like Son,1,Lim Sang-yoon,1,Lists,11,Little Big Soldier,1,Live Up To Your Name,1,Loi Bao,1,Los Angeles Indian Festival,1,Love,1,Lovers Are Wet,1,Lowlife Love,1,Lyberis,2,Madman,1,Mahde Hasan,1,Majid Majidi,1,Makoto Shinkai,1,Malaysia,5,Maria Georgiou,18,Mark Gallagher,1,Masaki Adachi,1,Masanori Tominaga,1,Masaru Konume,1,Masato Harada,1,Masatoshi Kurakata,1,Matt Cooper,9,Matthew D. Johnson,1,Maundy Thursday,1,Mermaid,1,Midi Z,1,Midori Impuls,3,Milk the Maid,1,Minoru Kunizawa,1,Miwa Nishikawa,1,Mohammad-Reza Lotfi,1,Mongolia,1,Moon Lovers,1,Mototsugu Watanabe,4,Movie,1,Mr. Socrates,1,My Dad and Mr Ito,1,My Hero Chihiro,1,Myanmar,1,Nanachan,1,Naoko Ogigami,1,Naomi Kawase,1,Naosuke Kurosawa,1,Naoyuki Tomomatsu,3,Neko Atsume House,1,Nepal,1,New Neighbor,2,News,1,Nicholas Poly,3,Nikola Cekic,1,Niwatsukino Norihiro,1,Noboru Iguchi,1,Nobuhiko Obayashi,2,Nobuhiro Yamashita,2,Nobuo Nakagawa,1,Nobuyuki Takeuchi,1,Noise,2,Non-fiction Diary,1,Norman England,2,Nurse Diary: Beast Afternoon,1,NYAFF,7,Nyamdavaa Baasansuren,1,Oh In-Chun,1,Old Boy,2,Omar Rasya Joenoes,3,On The Line Festival,2,Ophilia,1,Orson McClellan Mochizuki,1,Osaka Asian Film Festival,4,Osamu Sato,1,Our Happy time,1,Over the Fence,1,Pai Kau,1,Palatpol Mingpornpichit,1,Panos Kotzathanasis,57,Park Chan-wook,2,Park Ki- hyung,1,Park Kwang-hyun,1,Parkpoom Wongpoom,1,Pedro Morata,3,Peerachai Kerdsint,1,Pen-Ek Ratanaruang,1,Peng Xiaolian,1,Peque Gallaga,1,Philippines,1,Pieter - Jan Van Haecke,3,Pieter-Jan Van Haecke,7,Pink Eiga,14,PinkEiga.TV,6,pinku eiga,1,Psychic,1,Pumpkin and Mayonnaise,1,Rabbit and Lizard,1,Railway Sleepers,1,Raja Mukhriz,1,Randy Mckenzie,3,Rape Zombie: Lust of the Dead,1,Rape Zombie: Lust of the Dead 2,1,Red Persimmons,1,Rei Sakamoto,1,Reipu zonbi: Lust of the dead 3,1,Reviews,64,Reviews.,1,River of Exploding Durians,2,Roger Lee,1,Ronja,1,Ryu Kaneda,1,Ryuki,1,S. Korea,20,S.Korea,1,Saayak Santra,2,San Diego Asian Film Festival,3,Sanjeewa Pushpakumara,2,Sankha Ray,6,Satan's Slaves,1,Satoshi Kon,1,Say Yes,1,Sayandeep Bandyopadhyay,2,Scarlet Heart,1,Score,1,Sea Fog,1,Seijun Suzuki,3,Sexy S.W.A.T. Team,1,Shake Rattle and Roll,1,Shaw Brothers,1,She's the Boss,1,Shift,1,Shigeru Umebayashi,1,Shikhar Verma,3,Shikhar Verna,2,Shim Sung-Bo,1,Shinichi Fukazawa,1,Shinji Iwai,1,Shinji Sômai,1,Shinjuku Swan,1,Shinjuku Triad Society,1,Shinsuke Ogawa,1,Shinya Tsukamoto,2,Shôhei Imamura,1,Shoot for the Contents,1,Shorts,8,Shuna Iijima,1,Shutter,1,Siddiq Ahamed,1,Sidi Saleh,1,Signature,1,Sinophone,1,Sion Sono,4,Sixth Sense Hooker,1,Sogo Ishii,1,Soichi Umezawa,1,Sompot Chidgasompongse,2,Song Hae-sung,1,Song of the Week,19,Sopawan Boonnimitra,1,South Korea,15,Sri Lanka,2,Still the Water,1,Strange Circus,1,Studio Ghibli,1,StudioCanal,3,Subenja Pongkorn,1,Suffering of Ninko,1,Suicide Club,1,Sunao Katabuchi,3,Sung-hong Kim,1,Susumu Hirasawa,1,Tadashi Nagayama,1,Tae Guk Gi,1,Takaaki Hashiguchi,1,Takashi Miike,4,Take Care of My Cat,1,Takuro Nakamura,2,Tatsumi Kumashiro,1,Tetsuo the Iron Man,1,Tetsuya Mariko,1,Tetsuya Nakashima,1,Thailand,7,That's It,1,The Bad,1,The Boy and the Beast,2,The boy from Ipanema,1,The Crawler in the Attic,1,The Dollhouse,1,The elephant and the sea,2,The Executioner,1,The Forest Whispers,1,The Good,1,The Inugami Family,1,The Isthmus,1,The Kid from the Big Apple,1,The King of Pigs,1,The Man Without a Map,1,The Muse,1,The Naked Island,1,The Night of the Earthquake,1,The Outlaws,1,The recipe,1,The Road Home,1,The Road to Mandalay,1,the Robber's Daughter,1,The Room,1,The Sacrament,1,The Salesman,1,The Snow King,1,The Sower,2,The Story of the Disappearance of Maryam,1,The Strange Saga of Hiroshi the Freeloading Sex Machine,1,The Suicide Chain,1,The Tokyo Night Sky is Always the Densest Shade of Blue,1,The Weird,1,Tôkaidô Yotsuya kaidan,1,Tokyo Heaven,1,Tokyo Idols,1,Tokyo Vampire Hotel,1,Tolerance Film Festival,1,Tom Waller,1,Tony Leung,1,Toronto International Film Festival,1,Toshiaki Toyoda,1,Toshio Matsumoto,1,Toshiya Fujita,1,Traces of Sin,1,Train to Busan,1,Tran Ham,1,Trinh T. Minh-Ha,3,Twilight Dinner,1,Twitch: You Are My Toy,1,Uncovered,1,Vampire Clay,1,various,2,Victor Vu,1,Vietnam,2,Vikram Zushi,1,Violated Angels,1,Vital,1,West North West,2,Whispering Corridors,1,White Sun,1,Whore Angel,1,Wiman Rizkidarajat,1,Without Memory,1,Wol-Ha: Very Bad Moon Rising,1,Woman of the Lake,1,Woo Ming Jin,1,Yamato (California),3,Yang Ik-june,1,Yang Jong-hyeon,1,Yeon Sang-ho,2,Yiu-wai Chu,1,Yoshishige Yoshida,1,Yoshitaka Mori,1,Yoshiyuki Kishi,1,Yosuke Takeuchi,2,Yotsuya kaidan,1,Your Name,1,Yu Aoi,2,Yu Irie,1,Yûji Tajiri,2,Yuki Tanada,1,Yusaku Matsumoto,2,Yutaka Ikejima,3,Yuya Ishii,1,Zen,1,Zhang Yimou,1,Zoo,1,Zuairijah Mou,1,
ltr
item
Asian Film Vault: Interview with Alex Oost: The main purpose of the festival is to showcase a diverse selection of Japanese films in the Netherlands.
Interview with Alex Oost: The main purpose of the festival is to showcase a diverse selection of Japanese films in the Netherlands.
We speak with Alex Oost, director of Camera Japan about the purpose and the history of the festival, its processes, Japanese cinema, and other topics.
https://1.bp.blogspot.com/-FCrfejSqQkE/WgFsbL7B-EI/AAAAAAAAOmI/F1Yg-nMzDe48kcbClADdRn60gn22eQZRQCLcBGAs/s320/alex.jpg
https://1.bp.blogspot.com/-FCrfejSqQkE/WgFsbL7B-EI/AAAAAAAAOmI/F1Yg-nMzDe48kcbClADdRn60gn22eQZRQCLcBGAs/s72-c/alex.jpg
Asian Film Vault
http://www.asianfilmvault.com/2017/11/interview-with-alex-oost-main-purpose.html
http://www.asianfilmvault.com/
http://www.asianfilmvault.com/
http://www.asianfilmvault.com/2017/11/interview-with-alex-oost-main-purpose.html
true
3944800929692556231
UTF-8
Loaded All Posts Not found any posts VIEW ALL Readmore Reply Cancel reply Delete By Home PAGES POSTS View All RECOMMENDED FOR YOU LABEL ARCHIVE SEARCH ALL POSTS Not found any post match with your request Back Home Sunday Monday Tuesday Wednesday Thursday Friday Saturday Sun Mon Tue Wed Thu Fri Sat January February March April May June July August September October November December Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec just now 1 minute ago $$1$$ minutes ago 1 hour ago $$1$$ hours ago Yesterday $$1$$ days ago $$1$$ weeks ago more than 5 weeks ago Followers Follow THIS CONTENT IS PREMIUM Please share to unlock Copy All Code Select All Code All codes were copied to your clipboard Can not copy the codes / texts, please press [CTRL]+[C] (or CMD+C with Mac) to copy