Cannes Hidden Gem: Koji Fukada’s ‘Love on Trial’ Probes the Dark Heart of Japan’s Idol Industry

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In many professions, there are personal costs to pay, but few require as much self-dedication as being a Japanese idol. These individuals serve multiple roles, including pop stars, models for teen magazines, and social media influencers. For years, they’ve been a significant part of Japanese popular culture, appearing everywhere from TV screens to billboards and shopping mall speakers. However, the troubling power structures that govern this industry built on commercialized purity have recently attracted attention not just in Japan, but globally as well.

Renowned Japanese filmmaker Koji Fukada, who was awarded Cannes’ Un Certain Regard jury prize in 2016 for his gripping and enigmatic thriller titled “Harmonium”, is back on the Croisette this week with a social drama called “Love on Trial“. This film aims to reveal the hidden power structures within the glamorous realm of idol culture.

Koji Fukada, who won an award for his mystery thriller “Harmonium” at Cannes in 2016, is now showing a social drama titled “Love on Trial” this week. The movie tries to expose the complex power dynamics hidden beneath the shiny surface of idol culture.

In even simpler terms:

Japanese director Koji Fukada won an award for his thriller “Harmonium” at Cannes in 2016. This week, he’s showing a new movie called “Love on Trial“, which looks into the power struggles within idol culture.

Residing in Japan, you’re regularly immersed in idol culture – be it in movies, on TV, or in advertising,” Fukada shares with The Hollywood Reporter. “This project stemmed from my personal unease and internal struggles towards the idol culture, yet my aim was not to reject or criticize it categorically. Instead, I sought to scrutinize the system, while still acknowledging the aspirations of young women who yearn to become idols.

In Japan, idol culture is so deeply ingrained that its problematic aspects are frequently disregarded. Every year, talent agencies host large-scale auditions and public searches to discover fresh faces, primarily young girls in their teenage years. After being signed by an agency, these girls are subjected to demanding training schedules and stringent contracts that govern their appearance, conduct, and personal lives. The agencies then promote the idols as symbols of innocence to a predominantly male, older fanbase who value their looks, perceived purity, and emotional openness over their limited musical talents as pop artists. Importantly, these girls are compelled to accept “no romance” clauses in their contracts, meaning they’re forbidden from having any romantic relationships outside of their personal lives. This enforced chastity fosters the potential for a lucrative “parasocial” market, where fans – mainly older men – are lured by the idea of a close relationship with the idols.

Idols often interact with their fans at concerts, meet-and-greets, and online live streams, offering brief glimpses of what seems like a personal connection. However, the agencies managing them carefully orchestrate these encounters while maintaining almost complete control over their private lives. Unfortunately, issues have frequently arisen: Reports of idols being mistreated by management, mental health struggles among talent, instances of harassment and even violence among disappointed fans.

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In concerts, fan meetings, and live streams, idols offer glimpses of closeness to their followers through controlled interactions set up by agencies. Yet, these agencies closely supervise almost every aspect of the idol’s personal life. Consequently, problems such as abuse by management, mental health issues among talent, harassment, and even violence among disillusioned fans have frequently surfaced.

Love’s Courtroom Struggle

The narrative unfolds around Mai (Kyoko Umai), an up-and-coming J-Pop sensation whose meteoric rise encounters a sudden halt when she gets romantically involved, breaking the “no relationship” condition outlined in her contract. As her love affair becomes public knowledge, Mai endures not only the scorn of her fans but also must defend herself in a legal battle outside the spotlight, as her agency files a lawsuit against her for financial losses.

Fukada explains that the concept for the film was inspired by two actual lawsuits involving Japanese idols who breached their contracts. He notes, “In one instance, the court determined that a clause in the contract infringed upon human rights. However, in another case, the management agency prevailed. This discrepancy highlights the confusing and unresolved state of thinking on these matters in Japan.

Although Love on Trial appears to tackle intense topics, it adopts a more soothing tone compared to some of Fukada’s recent productions like Harmonium or Love Life, which delved deeply into themes of grief and severe family turmoil. Fukada intended this shift in tone, aiming to make his critique more accessible to mainstream Japanese audiences.

Previously, the script’s conclusions were quite intense, but we eventually opted for this particular mood as it seemed to encapsulate the intricacy of the subject matter more accurately, according to Fukada’s explanation.

The creation of this project commenced in 2016, however, it encountered numerous financial and production difficulties due to the controversial nature of its theme. As Fukada elaborates, casting was one of the biggest obstacles we faced; many actresses and ex-idols declined our offer due to the film’s potentially critical standpoint. However, when we managed to secure Kyoko Umai – a former idol with a substantial fanbase – for the role last spring, the project truly gained momentum. Moreover, the project was fortunate to have dedicated idol fans as part of its creative team, including the producer, scriptwriter, and several assistant directors, which significantly helped in researching the subject matter and building credibility within the idol community.

Love on Trial was created by Toho, a major player in Japan’s entertainment sector and a significant employer of idol talent across their films, TV shows, and stage productions. Fukada finds Toho’s participation “extremely significant” because they are right at the core of the industry that this film critically examines.

He notes: “I aimed to convey a message to our younger audience, particularly young girls, that it’s acceptable and empowering to question and resist the status quo. They shouldn’t allow traditional constraints to limit their aspirations. Ultimately, I encourage each viewer to reach their own understanding.

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2025-05-14 10:54