Korean-Japanese filmmaker O Mipo has received the 2026 Kurosawa Akira Award alongside Iranian director Mohammad Rasoulof. Speaking to Variety before the ceremony at Tokyo’s Imperial Hotel, held during the 39th Tokyo International Film Festival, O said the recognition made her feel she was “getting back on track” after a career break to raise her two sons.

O began her film career as a script supervisor for director Obayashi Nobuhiko. Her early recognition included a 2002 Short Shorts Film Festival prize for her short film “Eye.” Her first feature screenplay, “The Sakai’s Happiness,” won the Sundance/NHK International Filmmakers Award in 2005, and she later directed the film. Her 2010 drama “Here Comes the Bride, My Mom!” received the Shindo Kaneto Award grand prize, while “The Light Shines Only There” was Japan’s submission for the Academy Award for best foreign-language film.

After directing “Being Good” in 2015, O took a step back from feature filmmaking to raise her children. She directed a segment of the 2022 anthology “Tell It Like a Woman,” then returned to features with the 2024 coming-of-age drama “Living in Two Worlds.” Her next film, the children’s drama “How Dare You?,” followed in 2025.

O said she was surprised to learn she had won the Kurosawa Award, and initially wondered whether there had been a mistake. The award recognizes filmmakers with significant achievements who represent cinema’s future.

She also reflected on changes in Japan’s film industry since she joined as a crew member in 1999, pointing to more women working as staff and directors. She said production practices have shifted toward greater attention to respect and rights, though she remains concerned that Japanese films have yet to make a bigger impact in overseas markets. O said she hopes more varied Japanese films will find opportunities at international festivals and that she would like to try directing abroad, including in Hollywood.

Alongside filmmaking, O has worked as a commercial director. She said directors in Japan often need other types of work to make a living, but returning to feature films has left her with far less time for commercial projects. She also described a disparity in compensation, saying that directors in Hollywood are often paid from the planning stage, whereas in Japan they may receive no payment at that point.

On artificial intelligence, O said it is already part of everyday life and filmmaking, but she does not believe it will replace human filmmakers. She said she encourages her sons to keep asking what they think and what they want to do, even when using AI.

O cited her former mentor, Obayashi, as an example of a filmmaker who continued to take risks. At 49, she said, she sees herself as having many years ahead and wants to make up for the time away from feature filmmaking. The Kurosawa Award, she said, has helped her feel that her career is moving forward again.

Sources: Variety.