“Opal” by Martinican Director Alain Bidard

It is noteworthy that Japan stands as the third wealthiest country globally. However, in terms of gender equality, it ranks a surprising 121st out of 153, according to the World Economic Forum, trailing behind countries such as Bangladesh, Senegal, and the United Arab Emirates. Within Japan, instances of professional discrimination, sexual harassment, rigid dress codes, and perpetuated stereotypical roles persist, contributing to a deeply ingrained sexist culture. The role of women in Japanese society remains a delicate issue, underscoring the challenging backdrop against which the director’s film was presented.

Hence, given this contextual backdrop, it becomes more understandable why the director’s film faced formidable odds of winning the top prize. The film fearlessly addresses a profoundly serious social issue with the intent to raise awareness, a purpose that challenges the established socio-political norms. The current landscape of Japanese cinema and society is not yet prepared to actively champion such an unconventional film. Ironically, Opal has managed to create an opening, symbolizing representing the evolving attitudes. This contribution from Martinican director Alain Bidard carries a message of hope and progress.

Evidence of this transformation lies in the actions of the festival’s Secretary-General, Taro Maki, a prominent figure in Japanese animation production, and the festival’s Artistic Director, Tadashi Sudo, who also plays a journalistic role. They have expressed an interest in facilitating the distribution of “Opal” in the Japanese television market. Furthering this commitment to accessibility, a proposal has been initiated through French Guianase Alizé Utteryn, based in New York, to establish a partnership aimed at promoting black directors from the Caribbean, Africa, Europe, and the United States.