Co-Producing with Japan: Lessons, Challenges, and New Roads from the VODAVODA Panel at JSFF in Belgrade

Producers Dragan Đurković and Kazuyuki Kitaki unpack the surprising differences and shared opportunities between Japan and Serbia—and why cross-border collaboration could redefine the future of independent cinema.

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The Japanese-Serbian Film Festival (JSFF) in Belgrade served as the backdrop for a compelling industry panel on Serbia-Japan film collaboration. Held in the Yugoslav Film Archive’s Makavejev Hall during JSFF’s 12th edition, the VODAVODA-sponsored panel “Obstacles & Opportunities” brought together producers Dragan Đurković (Serbia’s Vision Team) and Kazuyuki “Kazz” Kitaki (Japan’s Magnetize, also JSFF co-program director), alongside actor Shun Mizobuchi. They discussed the challenges and possibilities of co-producing films between Serbia and Japan. JSFF itself is a unique cultural bridge – a festival devoted to independent, innovative cinema from both countries and to fostering artistic exchange. Why was this panel a program highlight? As JSFF director Jovana Stević noted, the festival’s theme “THE NEXT” spotlights emerging narratives and the “next chapter” of collaboration. In that spirit, the panel tackled how two very different film markets can learn from each other and work together.

Surprising Extremes to Learn From Each Other

In comparing their home industries, the two producers revealed almost opposite extremes – yet found lessons in those differences. Kazuyuki Kitaki described Japan’s film market as “an ecosystem of overproduction”. Japan has one of the world’s largest film outputs, producing hundreds of titles annually – in the mid-2000s the number of films released in Japan skyrocketed to over 800 per year. Yet only roughly half of those ever make it into theaters or reach significant audiences. For example, in one recent year 418 Japanese films were released, but the three major studios accounted for just 74 of them – those few dozen studio films grabbed 84% of domestic box office, while the remaining 344 independent titles (over 80% of releases) shared only 16% of revenue. This imbalance underscores Kitaki’s concern: quantity doesn’t guarantee quality or viewership. “The new era requires carving out space for quality over quantity,” he argued, noting that the market is largely “reserved” for productions backed by well-oiled studio distribution networks. Even so, Kitaki was optimistic – truly original independent films do find their way to audiences, sometimes through unexpected routes (niche cinemas, international festivals or streaming). The lesson from Japan’s side is that more films doesn’t necessarily mean more success; curating standout projects and finding creative distribution channels is vital in an overcrowded arena.

By contrast, Serbia’s film industry outputs only a handful of feature films each year, which forces a focus on select projects. Dragan Đurković observed that Serbia produces on the order of 8–13 feature films annually – indeed, in recent years Serbia has produced only a few dozen feature-length films (including documentaries) per year. On the surface this limited output might seem a disadvantage, but Đurković believes it can be a blessing: with fewer films, creators and investors can give greater attention to each project’s execution and quality. The two producers agreed that a balance is ideal. “Quality should be balanced with quantity,” as both put it – somewhere between Japan’s vast output and Serbia’s boutique production is a sweet spot that maximizes creativity, audience engagement and return on investment.

Crucially, the panelists noted that Serbia’s modest film numbers don’t tell the whole story of its vibrant screen industry. While theatrical features are few, Serbian television production is booming. Đurković highlighted that Serbia has become “perhaps the most vibrant Balkan marketplace” for TV series. Major local studios – often backed by telecom companies – are churning out high-end drama series that regularly draw millions of viewers across the region, making up for the smaller film slate. (For instance, Serbia’s Telecom Srbija alone has financed over 200 original film and TV projects and launched its own streaming platform to serve Balkan audiences.) These popular Serbian TV dramas, from crime thrillers to historical epics, not only dominate domestic ratings but also travel to neighboring markets. Kitaki acknowledged that Serbia’s success in television demonstrates an audience appetite for local content; it’s a reminder that storytelling talent is abundant, even if feature film production is limited. In turn, Japanese industry folks can learn from Serbia’s ability to produce hit content on constrained budgets, and its focus on strong writing and relatable themes. The takeaway: Japan and Serbia may sit at opposite ends of the spectrum in output, but each can glean insights – Japan from Serbia’s selectivity and quality focus, Serbia from Japan’s distribution infrastructure and genre diversity.

One poignant example of Serbia’s “less is more” approach discussed was Đurković’s latest film “Russian Consul.” Given Serbia’s small annual output, every film counts, and “Russian Consul” exemplifies the dedication poured into a single passion project. Đurković shared how the production was both challenging and deeply moving – the film’s lead actor, the legendary Žarko Laušević, was gravely ill during filming and even left his hospital bed to shoot key scenes. Tragically, Laušević passed away in November 2023, making “Russian Consul” his final film. Kitaki, who had seen the film at JSFF, offered high praise for its emotional depth and the team’s commitment. He remarked that Serbia’s limited number of films may allow such works to receive the care and attention they deserve. In this case, the filmmakers’ focus on crafting one powerful story resulted in a film that resonated strongly with the festival audience. It was a bittersweet illustration that producing fewer films can indeed translate to higher quality and impact – a notion that heavily saturated markets like Japan could take to heart.

Experience, Ambition, Vision… And That’s Not Enough

Both panelists laughed at the notion of finding a “secret formula” for global film success. If only it were that simple! Experience, ambition, vision – all are crucial, but not sufficient on their own, they agreed. The film business today is as much about adaptability and strategy as it is about creative talent. Đurković stressed that a producer’s most important asset is the ability to adapt. “The base for succeeding in the film market – to satisfy audiences and survive industry shifts – is adaptability through smart solutions,” he explained. This adaptiveness only comes from a deep understanding of both the industry mechanics and the culture you’re operating in. In other words, a great story isn’t enough; one must shape it to the realities of financing, marketing, and audience behavior in each context.

Đurković pointed out that each film is born from a unique cultural background and thus requires a tailored marketing and release strategy. What works in Japan won’t necessarily work in Serbia, and vice versa, because viewer expectations and media ecosystems differ. For example, a Japanese family drama might need a very different promotional approach (and even editing pace) to engage Serbian viewers unfamiliar with the context. “Every film needs its own marketing topic and effective spread,” Đurković said – meaning filmmakers must creatively frame each film’s story to spark conversation and draw attention, whether through festivals, social media, or grassroots word-of-mouth. Too often, he warned, producers assume that good content will simply speak for itself. Quality content is a prerequisite, yes, “which many take for granted unfortunately,” but even a great film can be overlooked without smart positioning. Kitaki nodded in agreement, noting that in Japan’s cluttered market, marketing finesse can make the difference in a smaller indie film finding its audience niche.

Another point both veterans underscored is the importance of building one’s own ecosystem in filmmaking. Đurković advised young producers to become less dependent on outside forces – whether that’s government funding cycles, fickle broadcasters, or distributors – by developing in-house capabilities and networks. “It’s impossible to be fully independent,” he conceded with a smile (after all, film is inherently collaborative and often expensive). However, having greater control over the process is a clear advantage. For instance, assembling a trusted team, securing some private funds, or even developing personal distribution channels (like direct online releases) can shield filmmakers from industry ups and downs. Kitaki chimed in that in Japan, even within the big studio system, success often comes to those who “create a mini-ecosystem” – nurturing relationships with certain writers, actors, sponsors, and niche fan communities who will support your projects consistently. The consensus: industry know-how + cultural savvy + entrepreneurial agility = the best chance of thriving in today’s film landscape.

While there’s no magic formula, Kitaki and Đurković did highlight one promising strategy: investing in new talent and fresh perspectives. In Japan’s intense market, Kitaki has shifted some focus to young directors with bold visions, precisely because they bring something different to the table. These emerging filmmakers often aim for international audiences and top-tier global festivals from the outset – they aren’t content with just the domestic circuit. The result? Sometimes recognition abroad precedes recognition at home, creating a reverse import of prestige. Kitaki cited a recent example from JSFF’s lineup: the feature film “Love Doesn’t Matter to Me” by young Japanese director Aya Igashi. This film, a bold coming-of-age drama, was showcased at JSFF and impressed festival-goers. Aya Igashi herself is a rising star – notably, her debut feature was selected for Cannes’ Cinéfondation section in 2016, making her the youngest Japanese director ever chosen for that honor. She has since had work screened at Raindance and other international fests, earning accolades abroad and gradually gaining a reputation back in Japan. “It’s fascinating,” Kitaki noted, “how the order of recognition can evolve smoothly based on different market performances.” A filmmaker like Igashi builds up international awards and buzz, which then causes Japanese media and audiences to take notice in retrospect. Đurković added that Serbia too has benefited from championing ambitious young directors – their successes overseas shine a spotlight on the local industry and inspire their peers. The panel’s advice was clear: experience must meet openness to new voices. Vision and ambition drive cinema forward, but they flourish best when seasoned mentors and producers use their experience to support and guide the next generation.

Joint Resources: Giving More to Both Markets?

Finally, the discussion turned to the big question: Could joint resources in film production benefit both Japan and Serbia? The resounding answer from the panel was “definitely, yes.” Co-production – pooling creative, technical, and financial resources across borders – was hailed as a win-win strategy with untapped potential for these two markets. In fact, one of JSFF’s core missions is to bridge Japanese and Serbian filmmakers, helping them understand where and how they might collaborate to “reduce costs, elevate quality, and create new, authentic content together.” The panelists believe that co-producing isn’t just about finding extra funds; it’s about combining strengths. Serbia can offer unique locations, lower-cost crews, and a storytelling perspective that might refresh Japanese projects. Japan brings larger budgets, advanced technology, and a global distribution reach that Serbian cinema typically lacks. By joining forces on select projects, both sides can gain access to new funding sources and new audiences beyond their home turf.

Co-productions between Japan and other countries are not without precedent – in fact, the potential of this model has been understood for decades. As one panelist quipped, “Starting with Seven Samurai, we’ve seen what’s possible.” Akira Kurosawa’s Seven Samurai (1954) – one of Japan’s most iconic films – was famously enabled by foreign support (including French funding), demonstrating even in the 1950s that international collaboration could help realize a director’s grand vision. (Kurosawa’s epics were often expensive, and overseas partners occasionally stepped in to finance what Japanese studios alone hesitated to fund.) From that classic example onward – whether it’s European investment in Kurosawa’s later films, or Hollywood backing for Japanese IP – international partnerships have given Japanese cinema global legs. Why not systematize it? the panelists argued. Rather than ad hoc cases, co-production could be organized more formally between Japan and Serbia, supported by institutions and perhaps official treaties, to everyone’s benefit.

The panel’s vision for co-production goes beyond financing: it’s about creative exchange. With the rise of AI translation, virtual production tools, and ever-faster communications, the usual barriers of language and distance are lower than ever. “Now, in the era of AI and enhanced communication, we should be taking down barriers, not putting them up,” Kitaki emphasized. The implication is that collaboration is more feasible today than it’s ever been – from script development (where writers in Belgrade and Tokyo could brainstorm over Zoom) to post-production (where digital files can be shared instantly across continents). Both producers encouraged filmmakers to be proactive: attend each other’s festivals (like JSFF itself), network, pitch ideas. They noted that events like JSFF’s panels and workshops are designed to spark exactly these connections, sowing the seeds for future co-productions. The audience at the panel – a mix of Japanese and Serbian film enthusiasts – was urged to think about stories that could cross borders. Co-productions can be “openers” to new markets, new talent pools, and new storytelling possibilities that neither side could achieve alone.

In closing, the mood was decidedly hopeful. Yes, there are obstacles in co-producing – from legal differences to cultural gaps – but as the title of the panel suggested, there are plenty of opportunities waiting to be seized. “If we combine our strengths, we also share the risks – and share the rewards,” Đurković concluded. Both he and Kitaki expressed confidence that in the coming years we’ll be seeing more Japan-Serbia collaborative projects, nurtured by forums like JSFF. These could range from indie art-house films to perhaps even genre movies (imagine a samurai epic filmed in Serbian mountains, or a Belgrade-set thriller with a Japanese lead – the possibilities thrilled the panel attendees). The key takeaway for filmmakers and industry observers was that collaboration stands as a path to richer storytelling and mutual growth for both markets.

The conversation at JSFF’s panel ultimately left the audience inspired about the road ahead. When diverse experiences, ambitions, and visions converge – backed by smart strategy and a willingness to share – the result can be cinematic magic that speaks to all cultures. Co-production, in short, might just be the next big thing to push Japanese and Serbian cinema into “the next” era of creativity.

Have questions or ideas about Japanese-Serbian film collaboration? Feel free to reach out to JSFF’s team at office@jsffest.com.