‘Alice in Borderland’ Star Isomura Hayato on the Role He Was Warned Off, Judging Tokyo’s Ethical Film Award and Why Japanese Cinema Needs Government Backing

‘Alice in Borderland’ Star Isomura Hayato on the Role He Was Warned Off, Judging Tokyo’s Ethical Film Award and Why Japanese Cinema Needs Government Backing When Isomura Hayato was considering a part in The Moon, director Ishii Yuya’s stark drama drawn from a real incident at a care facility for people with disabilities, the people around him tried to talk him out of it. The events were still fresh, and they worried the role could damage his career. Hayato, who shot to international fame as Takumi in the Netflix hit Alice in Borderland, decided to take the risk anyway, saying he felt a responsibility to give voice to stories that society preferred to ignore..

“If we keep silencing the uncomfortable, the truth never reaches anyone,” he told the Asahi Shimbun during a recent press conference. The film’s controversial premise – a whistle‑blower nurse exposing neglect, only to be framed for a crime he didn’t commit – has already sparked heated debate among advocacy groups. Critics argue that dramatising such a recent tragedy could re‑traumatise victims, while supporters claim it shines a needed spotlight on systemic failures..

Hayato, aware of the fine line, said he worked closely with the families of the real‑life victims to ensure the portrayal remained respectful. “I didn’t want to exploit pain; I wanted to amplify it,” he explained, adding that his preparation included months of volunteering at similar facilities. The role has also forced Hayato to confront the darker side of fame..

Within weeks of the film’s teaser release, he reported receiving anonymous threats on social media, accusing him of “profiting from suffering.” The actor’s agency, Horipro, issued a statement condemning the harassment and urging platforms to enforce stricter moderation. Hayato, however, refused to be deterred. “The louder the backlash, the more urgent the conversation becomes,” he said, signalling that the controversy may, paradoxically, serve the film’s purpose..

The Moon is set to premiere at the Tokyo International Film Festival (TIFF) in October, where it will be screened in the competition for the newly introduced Ethical Film Award. This category, devised by the festival’s board, seeks to honour works that tackle socially sensitive topics with nuance and integrity. Hayato was invited to join the five‑member jury, a role that places him at the intersection of artistry and moral stewardship..

“It’s a rare privilege to help shape the standards by which we judge responsibility in cinema,” he remarked, noting that the award could become a benchmark for future productions. The jury’s deliberations are expected to be rigorous. Members will assess not only narrative quality but also the extent of community consultation, factual accuracy and the impact on marginalized groups..

Hayato, drawing on his own experience with The Moon, said he will champion transparency and collaboration. “If a film claims to speak for a community, that community must have been at the table from the first script meeting,” he asserted, echoing a growing sentiment that ethical storytelling requires more than good intentions. Beyond the festival, Hayato’s involvement reflects a broader shift in Japanese cinema toward socially engaged filmmaking..

Over the past decade, a wave of directors has tackled topics ranging from labor exploitation to gender inequality, often encountering resistance from traditional studios wary of controversy. Hayato believes that the industry’s evolution hinges on structural support, particularly from government bodies that can provide funding without demanding commercial safety nets. “When the state backs projects that challenge the status quo, we create space for daring narratives,” he said, citing the recent success of Shoplifters and The Voice of the Sea as examples of state‑sponsored risk paying off..

The Japanese Ministry of Culture, which oversees the Japan Film Commission, announced a ¥5 billion grant programme aimed at “culturally significant” productions earlier this year. Hayato praised the initiative but warned that bureaucratic red tape could dilute its effectiveness. “Money is welcome, but it must come without strings that force creators to water down their messages,” he cautioned..

He suggested a streamlined application process, coupled with independent oversight committees comprising filmmakers, scholars and civil‑society representatives. Such recommendations have found allies among veteran directors. Renowned filmmaker Hirokazu Kawaguchi, whose 2022 documentary Silent Voices abuse in orphanages, urged the Ministry to adopt a “sandbox” model, allowing experimental projects to test boundaries before full release..

Kawaguchi and Hayato share the belief that a thriving film ecosystem needs a safety net that protects artistic freedom rather than punishing it. Their joint appeal was presented at a recent round‑table hosted by the Japan Film Association, drawing applause from younger creators eager for change. The conversation around funding dovetails with ongoing concerns about distribution..

While streaming giants like Netflix have propelled Japanese talent onto the global stage, domestic theatrical windows remain narrow, limiting box‑office returns for socially charged films. Hayato highlighted that The Moon will be released simultaneously in select cinemas and on a domestic streaming platform, a hybrid model he hopes will become standard. “We need to meet audiences where they are, whether that’s a small theatre in Osaka or a living room in Sapporo,” he said, emphasizing accessibility as a pillar of ethical filmmaking..

Audience reception will ultimately decide whether The Moon succeeds in reshaping public discourse. Early test screenings have produced mixed reactions: some viewers praised its unflinching honesty, while others found certain scenes “excessively graphic.” Hayato.