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Hirokazu Kore-edas Look Back Debuts at Venice 2026, Adapting Tatsuki Fujimotos Manga into a Touching Live-Action Drama
The 83rd Venice International Film Festival opened on 2 September 2026 with the world premiere of Hirokazu Kore‑eda’s live‑action adaptation of Tatsuki Fujimoto’s 2021 manga Look Back. The film entered the main competition, screening alongside a slate of international titles and earning a solid 8.5‑point rating from critic Alex Billington.
Kore‑eda, whose earlier works Shoplifters (2018) and Monster (2023) cemented his reputation for quiet, character‑driven storytelling, returns to that aesthetic in Look Back. The story follows two Japanese schoolgirls—Fujino and Kyomoto—who bond over a shared passion for drawing manga. Their friendship unfolds from childhood through high school, punctuated by parental doubts about a career in manga and culminating in a tragic event that tests the limits of their bond.
The director handled the project in a single hand: he wrote, directed, and edited the film, while Senzo Ueno served as cinematographer. At Kore‑eda’s insistence, the picture was shot on 35 mm film, giving the film a tactile, nostalgic texture. Principal photography took place in Nikaho, Akita, where the director enlisted roughly 300 local residents as extras, embedding the film in its rural setting. Yuta Bandoh composed the score, underscoring the narrative’s emotional beats.
Natsuki Deguchi and Aju Makita portray the older Fujino and Kyomoto, while Furi Nanase and Rokka Okada capture their younger selves. Critics praised the cast for their authentic, understated performances—an attribute Kore‑eda has cultivated across his career.
Billington’s review highlighted the film’s visual style as “sublime.” He noted the contrast between static shots of the girls in their rooms and kinetic sequences of Fujino running, a visual motif that underscores the film’s rhythm. According to Billington, the pacing is largely governed by the evolving relationship between the protagonists, with the central conflict arising only from parental disapproval and the eventual tragedy.
Look Back is Kore‑eda’s second feature released in 2026; his first, Sheep in the Box, premiered at the 2026 Cannes Film Festival. Billington admitted a personal preference for Look Back over the Cannes entry, describing the latter as “one of his least favorite films” at Cannes.
The Venice festival ran from 2 to 12 September, with American actress and filmmaker Maggie Gyllenhaal presiding over the main‑competition jury. The event also honored Ellen Burstyn and George Clooney with Golden Lions for Lifetime Achievement.
Beyond Venice, Look Back is slated to debut in North America at the Toronto International Film Festival later in September. Its inclusion in TIFF’s lineup signals a broader international release strategy, though a specific theatrical or streaming release date has yet to be announced.
Fujimoto’s manga is noted for blending humor with darker themes—a balance Kore‑eda reportedly handled with “tenderness” in the adaptation. The film’s tragic ending, while sorrowful, reinforces the importance of friendship and artistic collaboration, according to Billington’s assessment.
As of this writing, Look Back remains in competition at Venice and will continue to be screened at TIFF. No additional festival appearances or award nominations have been announced, and distribution plans beyond the festival circuit remain to be confirmed.
The film’s adaptation of a popular manga by a director of Kore‑eda’s stature illustrates the growing trend of cross‑media storytelling in Japanese cinema. Its reception at Venice and forthcoming TIFF screening are likely to shape its commercial prospects and potential eligibility for awards in the upcoming season.
Kore‑eda, whose earlier works Shoplifters (2018) and Monster (2023) cemented his reputation for quiet, character‑driven storytelling, returns to that aesthetic in Look Back. The story follows two Japanese schoolgirls—Fujino and Kyomoto—who bond over a shared passion for drawing manga. Their friendship unfolds from childhood through high school, punctuated by parental doubts about a career in manga and culminating in a tragic event that tests the limits of their bond.
The director handled the project in a single hand: he wrote, directed, and edited the film, while Senzo Ueno served as cinematographer. At Kore‑eda’s insistence, the picture was shot on 35 mm film, giving the film a tactile, nostalgic texture. Principal photography took place in Nikaho, Akita, where the director enlisted roughly 300 local residents as extras, embedding the film in its rural setting. Yuta Bandoh composed the score, underscoring the narrative’s emotional beats.
Natsuki Deguchi and Aju Makita portray the older Fujino and Kyomoto, while Furi Nanase and Rokka Okada capture their younger selves. Critics praised the cast for their authentic, understated performances—an attribute Kore‑eda has cultivated across his career.
Billington’s review highlighted the film’s visual style as “sublime.” He noted the contrast between static shots of the girls in their rooms and kinetic sequences of Fujino running, a visual motif that underscores the film’s rhythm. According to Billington, the pacing is largely governed by the evolving relationship between the protagonists, with the central conflict arising only from parental disapproval and the eventual tragedy.
Look Back is Kore‑eda’s second feature released in 2026; his first, Sheep in the Box, premiered at the 2026 Cannes Film Festival. Billington admitted a personal preference for Look Back over the Cannes entry, describing the latter as “one of his least favorite films” at Cannes.
The Venice festival ran from 2 to 12 September, with American actress and filmmaker Maggie Gyllenhaal presiding over the main‑competition jury. The event also honored Ellen Burstyn and George Clooney with Golden Lions for Lifetime Achievement.
Beyond Venice, Look Back is slated to debut in North America at the Toronto International Film Festival later in September. Its inclusion in TIFF’s lineup signals a broader international release strategy, though a specific theatrical or streaming release date has yet to be announced.
Fujimoto’s manga is noted for blending humor with darker themes—a balance Kore‑eda reportedly handled with “tenderness” in the adaptation. The film’s tragic ending, while sorrowful, reinforces the importance of friendship and artistic collaboration, according to Billington’s assessment.
As of this writing, Look Back remains in competition at Venice and will continue to be screened at TIFF. No additional festival appearances or award nominations have been announced, and distribution plans beyond the festival circuit remain to be confirmed.
The film’s adaptation of a popular manga by a director of Kore‑eda’s stature illustrates the growing trend of cross‑media storytelling in Japanese cinema. Its reception at Venice and forthcoming TIFF screening are likely to shape its commercial prospects and potential eligibility for awards in the upcoming season.
