Kering will bring together Amy Homma, Kazunari Ninomiya and Chieko Murata on 27 October. The programme places preservation, performance and production in dialogue, followed by Lulu Wang’s The Farewell.
How does a film move among those who make it, the institutions that preserve it and the audiences that discover it? The Women In Motion event announced in Tokyo offers three perspectives on this question: Amy Homma’s, as head of the Academy Museum; actor Kazunari Ninomiya’s; and producer Chieko Murata’s.
Three roles in the life of a film
Kering has scheduled the event for 27 October 2026 at TOHO Cinemas Roppongi Hills, alongside the Tokyo International Film Festival. Hirokazu Kore-eda will open the discussion. A screening of The Farewell, selected by Amy Homma, will follow the conversation.
The programme addresses, among other themes, the international place of Japanese cinema and the diversity of creative settings. Admission is announced as free, with sixty seats allocated by lottery if demand exceeds capacity. These arrangements offer a concrete measure of access, beyond the prominence of the speakers.
A cultural commitment reveals itself in the conversation
Bringing museum work, acting and production together is promising because it can make distinct responsibilities visible. Preserving a work, giving it a presence on screen and assembling the conditions for its creation do not always lead to the same priorities.
For a luxury group convening this dialogue, its cultural value will depend on how much room is genuinely given to those differences. A programme may assemble well-known names without producing a substantive exchange; it may also illuminate constraints that film promotion tends to leave aside.
The event has yet to take place. The programme should therefore be read as an invitation, not as an outcome already achieved. What is said in October will show whether the encounter has clarified how cinema is created and passed on.
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