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Black Box Diaries

Black Box Diaries
Theatrical release poster
Directed byShiori Itō
Produced by
  • Eric Nyari
  • Hanna Aqvilin
  • Shiori Itō
Cinematography
  • Hanna Aqvilin
  • Yuta Okamura
  • Shiori Itō
  • Yuichiro Otsuka
Edited byEma Ryan Yamazaki
Music byMark degli Antoni
Production
companies
  • Hanashi Films
  • Cineric Creative
  • Star Sands
  • Spark Features
Distributed by
Release dates
  • January 20, 2024 (2024-01-20) (Sundance)
  • October 25, 2024 (2024-10-25) (United States)
  • October 25, 2024 (2024-10-25) (United Kingdom)
Running time
103 minutes
Countries
  • Japan
  • United States
  • United Kingdom
Languages
  • English
  • Japanese
Box office$27,788[1][2]

Black Box Diaries is a 2024 documentary film produced and directed by Shiori Itō, documenting her sexual assault investigation and case in Japan.[3] The film premiered at the 2024 Sundance Film Festival.[3][4][5] It was released in the United States and United Kingdom on October 25, 2024, by MTV Documentary Films and Dogwoof, respectively. It received critical acclaim and was named one of the top 5 documentary films of 2024 by the National Board of Review[6] and nominated for Best Documentary Feature Film in the 97th Academy Awards.

Synopsis

The film is a documentary based on investigative journalism analyzing a high-profile rape case in Japan, written by the victim, Shiori Itō. The perpetrator was Noriyuki Yamaguchi, then Washington D.C. bureau chief of the Tokyo Broadcasting System. He is established to be a powerful man with friends in high places, notably prime minister Shinzo Abe.[7]

Production

The film is based on the 2017 memoir written by Itō.[7]

It is directed by Itō and co-produced by her along with Hanna Aqvilin and Eric Nyari.

Release

The film had its world premiere at the 2024 Sundance Film Festival on January 20 as part of the World Cinema Documentary Competition.[8] It also screened at South by Southwest on March 10, 2024,[9][10] CPH:DOX on March 18, 2024,[11][12] Hot Docs Canadian International Documentary Festival on April 29, 2024,[13][14]

In May 2024, MTV Documentary Films and Dogwoof acquired US and UK distribution rights to the film, respectively.[15][16]

Black Box Diaries screened at the Melbourne International Film Festival in Melbourne, Australia, August 2024[17] and at the 2024 Adelaide Film Festival in October.[18]

The film competed in the category Documentary Competition at the 20th Zurich Film Festival in October 2024, where it won the Golden Eye for best Documentary and the Audience Award across all competing entries.[19]

On February 4, 2025, in the UK, the BBC first broadcast the documentary film as episode 2 of series 29 of their long-running documentary film strand Storyville, as part of the 2025 series.

In early 2025, the film was nominated for an Academy Award in the Best Documentary Feature Film category.

Controversy over journalistic ethics

Lawyers' accusations

In October 2024, Yōko Nishihiro, Chinami Kajō, and Katsuhiko Tsukuda, attorneys who formerly represented Itō,[a] accused Itō of failing to protect sources by using footage and audio recordings in the film without permission from the relevant parties, such as the hotel that provided security camera footage of Yamaguchi dragging Itō into the hotel, which it did so under the agreement that it be used only in court proceedings, a police detective who leaked investigative information, and a taxi driver who provided an account. Nishihiro expressed fear that such unauthorized uses of materials produced during a lawsuit may discourage potential witnesses and cooperators from coming forward in lawsuits concerning sexual assaults, where evidence tends to be scarce. She also said that a phone conversation between Itō and Nishihiro was recorded without her knowledge and was used in the film without her permission.[22][23][24][25][20]

Nishihiro, who represented Itō for eight and a half years,[22] said Itō accepted her request to review the film before it was ever screened to the public when Itō first told her of the film in December 2021, but she only learned the film would premiere the month before, and then told Itō not to breach the agreement with the hotel and was informed by production company Star Sands that the footage would not be included. She saw the film at a press screening in July 2024 and found out it was still included. The filmmakers renegotiated with the hotel at Nishihiro's request, which was eventually unsuccessful.[20]

In February 2025, Yukiko Tsunoda, another former representative of Itō,[a] also denounced the unauthorized use of footage, saying, "Film can sometimes be violent. While I applaud Ms. Itō's fight as a victim of sexual crime, I cannot ignore the current situation where the counsel who ran alongside her and struggled so much and many collaborators and supporters are hurt."[21]

In an article published in February 2025, Tsukuda argued that Itō has already been relieved as a victim since the court admitted the footage and found her to have been sexually assaulted, and this has served the public interest as far as Itō was concerned, and releasing it in violation of the agreement with the hotel was unnecessary and would only make it more difficult for other victims to secure evidence and be relieved in the future. He questioned the suggestion that public interest is given more weight than privacy in American journalism, citing the pains New York Times reporters took to determine if sources could go on the record as depicted in the film She Said.[26]

On February 20, 2025, Nishihiro, Tsukuda, and Tsunoda held a press conference at the Foreign Correspondents' Club of Japan. They said Itō owed an explanation to distributors and film festivals abroad. Tsukuda said, "It appears to us there is an attempt to suppress our surfacing of human rights and ethical issues by screening it overseas as a fait accompli. It would not be a resolution to the problem just to re-edit it for screening in Japan."[27] They said Itō proceeded with screenings of the film without addressing issues they had been raising since December 2023. Tsukuda said, "Since the original version has already been screened around the world, the problem would not disappear just because a redacted version was screened in Japan."[28]

Writer Rina Hasumi joined the lawyers at the conference and argued that Itō had been misrepresenting the reason the film had not been screened in Japan in interviews with English-language media. Tsukuda questioned whether Itō had been properly explaining that the film contained uncleared material to stakeholders and distributors abroad. Tsukuda said a tweet by MTV Documentary Films, the US distributor, incorrectly stated the film had been "banned from Japan".[28][29]

In response to a question arguing for screening the film in the interest of open public debate, Tsukuda said their priorities as lawyers lay in "stopping human rights violations and contract breaches and minimizing harm".[28]

In a statement distributed at the conference, Nishihiro said Itō's Sekai essay convinced her that Itō "was not trying to face the actual issues I've been raising with her, and this problem would not improve by itself". Nishihiro wrote, "To protect [Itō's] rights, I spent a lot of time and energy ... because I wanted to make the path she took to be a light for the sexual victims who must exist behind her. It was because I wanted speaking out about being victimized to be a light that revealed the truth and improved society's understanding of sexual harm instead of a darkness to which there were nothing but drawbacks, and I believed it was my mission to make it a light." She took exception to the way the film depicted Nishihiro advising against having the doorman testify, which was recorded without her consent, as in reality Itō's counsel respected her wish and requested the trial be reopened in order to submit his affidavit. She said watching the scene made her realize the trust between her and Itō had collapsed years earlier.[30]

Nishihiro wrote that the use of the hotel footage was "something I cannot allow professionally" as it would set a bad precdent, noting it was the hotel's request to have not only Itō but Nishihiro sign the agreement. She wrote, "it would rather be a problem ethically for a lawyer not to do anything about it".[30]

Nishihiro said Itō characterized the October 2024 press conference as abruptly ending the negotiation even though Nishihiro had been raising the issues with Itō since December 2023, and Itō said she sensed "an intent to obstruct the screening of the film" and "unfathomable malice" from Nishihiro. Nishihiro wrote, "it is Ms. Itō who broke promises and created a situation that cannot be ignored ... my sense of duty to protect human rights was described as 'unfathomable malice'. The word 'regrettable' does not remotely describe the bitter and sadness I feel."[30]

The lawyers said a dispute mediation at a bar association had been requested after Itō's team told them on February 7 that it was considering requesting they be disciplined. They denied breaching attorney–client confidentiality.[27]

The conference was initially scheduled for February 12 but was postponed to coincide with a press conference by Itō's side on the same day, which, however, was canceled due to Itō's health.[31]

Filmmakers' response

In response to the October 2024 press conference, Itō said the lawyers' accusations contained factual inaccuracies, the detective and the taxi driver could not be reached, and the film had received legal checks in the United States and Japan.[24] She contended that it was crucial to show the evidence of the sexual assault, that the security footage and the detective's voice were sufficiently altered for the film to protect privacy, and that the public benefit of including the materials in the film outweighed other concerns such as the commercial interests of the hotel.[23][32][33][25] She also said the footage was an unrestricted court material and it had to be published as she had received vitriol after footage of her walking out of the hotel was leaked.[34] Representatives of Itō also accused Nishihiro of breaching attorney–client confidentiality.[23]

In February 2025, the magazine Sekai published an essay by Itō, in which she described the motive for making the film and wrote, "Now I think the difficulty of getting it released may be the very thing the film wanted to shed light on", calling survivors of trauma not to "make a judgment until you see the film".[35] She also said in an interview, "People in Japan are who I really want to see it the most. It is natural that there will be criticism and debate, but I want people to see it first."[36]

Producer Eric Nyari said, "I believe in Shiori's right to tell her own story from her own point of view. In spite of the protests of her lawyer, she put it in the film. And as a production, we agree with that in terms of public interest, in terms of fairness, in terms of morality."[37] He also said, "There are many examples of documentaries internationally that have used material without consent when it comes to shedding light on positions of power."[38]

On February 20, 2025, Itō released a statement apologizing to Nishihiro and others appearing in the film without consent. She revealed that a new version of the film had been produced in which they could not be identified. She said this version retains the hotel footage (though with modifications to the appearance of the hotel and the taxi), which she defended on public interest grounds while welcoming criticism. She said she would make sure the new version would be the one shown across the world going forward as far as possible. She was scheduled to hold a press conference and screen the new version at the Foreign Correspondents' Club of Japan that day, but she canceled the conference and screening, which she said was at a doctor's recommendation.[31]

In a statement released on February 20, 2025, lawyers representing Itō, Yasuko Morooka and Hajime Kanbara, defended the inclusion of the hotel footage on the grounds that it was "the only visual piece of evidence of the incident of sexual assault lacking Ms. Itō's consent". They wrote, "The purpose of this documentary film is to appeal to society and change the reality of sexual harm and how extremely difficult it is to prevent and relieve sexual harm legally and socially. Therefore, it is of great public interest to show the rare footage of the scene of the sexual assault of this case and show the way it actually happened in front of the eyes of many people in society, that it could not be stopped, and that, even after the incident, despite it being such a clear sexual crime, it was covered up by those in power, that the victim was forced to file a civil lawsuit while suffering tremendous secondary victimization, and that she continued to suffer pain nearing death." They noted that the footage was available for anyone to see during the trial, and the name of the hotel had been mentioned in the press. They wrote that the purpose of a security camera in the first place was to prevent crimes, and civil courts may compel hotels to submit security footage under existing law. They also wrote that it was unreasonable to assume other victims would act as Itō, as she was a journalist and the first in the world to investigate and make a documentary about her own sexual assault. They wrote, "Furthermore, with respect to the UN Guiding Principles on Business and Human Rights, hotels have a responsibility to prevent human rights violations in their facilities and to provide relief if they do occur. If you uphold 'achieving social justice', you should be asking hotels to relieve victims of sexual violence, and it's getting things backwards to side with hotels' commercial interests and justify not cooperating with victims." Morooka and Kanbara denied that the detective dubbed Investigator A qualified as a legally protected whistleblower, and wrote that it was "dubious" he may be considered even a journalistic source, and that his voice was altered contrary to an assertion in the October 2024 press conference.[39]

Reaction

Documentarian Tatsuya Mori said, "If what the lawyers said at the press conference is true, it's clearly over the line. It should be rectified even at this point."[24] Hiroyoshi Sunakawa, media scholar at Rikkyo University, said, "There are some things, such as the degree of intoxication, that can only be conveyed through video. The film is made with determination, and, if the message contained there serves the public interest like prevention of sexual crime, it is defensible to decide to show the footage even without permission."[32] Toshihiko Tabuchi, media scholar at J. F. Oberlin University, said, "In American documentary filmmaking, there is propensity to put more emphasis on public interest even when matters such as invasion of privacy are contentious ... I assume it was the only way to expose the sexual crime while maintaining the credibility of the video evidence."[25] Ryōichi Matsuno, journalism scholar at Chuo University said, "Obtaining permission for footage use and protecting the anonymity of sources are the most basic of basics. Given the subject with such high public interest, permission should be negotiated for tenaciously, and the personality and human rights of the journalistic sources should be given the utmost consideration. Journalism is predicated on relationships of trust."[25]

Writer Minori Kitahara wrote, "Every scene that's said to be unauthorized has an impact and strong meaning. But why did Ms. Itō eschew getting permisson? Was her sentiment as a creative so hard to overcome? Even if it had been the necessary truth for her as a victim of sexual assault, shouldn't she have suppressed it as a journalist?"[40]

On February 16, 2025, the Women's Association for Peace and Against Military Bases and Militarization Across Japan, headed by Yūko Tanaka, former president of Hosei University, released a statement urging Itō to remove unauthorized scenes from the film and drop her suit against Mochizuki. It said, "Black Box Diaries is a record of the gross human rights violations against Shiori Ito, which has extremely important meaning in society. However, we recognize that in releasing this film, Shiori Ito failed to carefully communicate with her information sources and, as a result, violated their human rights."[41][42]

Filmmaker Atsushi Funahashi and historian Chelsea Szendi Schieder wrote that the film has "the subversiveness of a good documentary" in which each viewer can "understand the social phenomena depicted therein as problems that permeate the entire society", and that the hotel footage should be shown so that administrative and legislative failure can be confronted, but that the footage and audio of civilians such as the taxi driver and journalists should be authorized or obscured. They criticized Tsukuda's argument that the civil suit has relieved Itō as a victim, noting Yamaguchi has not been criminally prosecuted and writing, "We were astonished to read this article; we thought everyone was aware money may not fully compensate for the psychological and physical trauma caused by sexual assault." They also argued that, while documentarians have responsibilities for their subjects, not all of the ethics in journalism can be applied to documentaries, writing, "It is virtually impossible to obtain permission from everyone who appears in a documentary ... Documentaries are full of unauthorized footage."[43]

Writer Tamaka Ogawa, who attended the civil trial against Yamaguchi, questioned the public interest argument and wrote that the hotel footage was not as conclusive a piece of evidence as some make it out to be because of the time difference between the check-in and the alleged assault, and Itō's counsel examining Yamaguchi and bringing out inconsistencies in his accounts of events was more conducive to the court ruling in her favor, adding that "it is more advisable to view what this documentary tries to convey as a chronicle of several years from the perspective of Itō herself than as what actually happened", though "it may be great as a starting point for [viewers unfamiliar with Itō's case] to learn about the adversities that stand in the way of victims".[44]

Film editor Takeshi Hata commended the re-editing of the film, writing, "Itō needed to communicate with those who appear in the film alongside her not as a victim they had met but as a director making a film ... I was worried that the [people she called] 'heroes', who should really be given consideration, were being left out of the conversation."[45]

Tokyo Shimbun article and defamation suit

On January 14, 2025, the Tokyo Shimbun reported that footage of female journalists discussing their experiences of sexual harm at a private meeting that took place in December 2017 was used in the film, including the version streaming on Paramount+, without permission from several of the participants filmed, even though one of them had been told by Itō in late 2024 that her request that the scene be removed had been accepted. The organizer of the event told the newspaper that they authorized Itō to use the footage under the condition that she obtain permission from everyone filmed, but they did not confirm that she indeed did, and they would deliberate whether they too would request the scene be removed. Representatives of Itō wrote to the newspaper, "We believe that there exists no obligation to respond to those who keep making malicious personal attacks, and we suggest you operate under that assumption going forward."[46]

On February 7, 2025, the newspaper issued a clarification and apology saying that the woman shown in the film speaking about her experience of sexual harm had in fact given Itō permission to use her footage, while maintaining that some other participants had not, acknowledging the original headline was misleading.[46]

On February 10, 2025, Itō sued Isoko Mochizuki, the Tokyo Shimbun reporter who wrote the article, for defamation seeking ¥3.3 million in damages. The complaint stated that Mochizuki falsely painted Itō as a selfish person who uses unauthorized footage of other sexual victims and this drove Itō's social reputation "into the ground". Mochizuki said, "The article didn't get anything wrong, but we accommodated Ms. Itō's wishes as much as possible. I cannot help but sense an intent to stifle speech by putting the cost of the lawsuit on me personally, which is deeply regrettable."[47]

Implications on release

As of February 2025, no Japanese release was scheduled for the film.[36] Two French organizations have jointly launched a Change.org petition for a Japanese release. Itō said Japanese distributors "know it's no legal issue, so they're more scared about the public voice". Nyari said Japanese theaters, "including the theater who we had really the highest hopes for", are "owned by large corporations that also own hotels" and this has made the film "a particularly sensitive case for them".[48]

Reception

Critical response

On the review aggregator website Rotten Tomatoes, 98% of 56 critics' reviews are positive, with an average rating of 8.3/10.[49] Metacritic, which uses a weighted average, assigned the film a score of 82 out of 100, based on 18 critics, indicating "universal acclaim".[50]

Lex Briscuso of TheWrap described Black Box Diaries as "a stunning, effective tale of reclaiming victimhood and the fight for justice" and "a selfless gift meant to show other survivors that it is possible to not only rebuild your inner sanctuary, but to seek meaningful justice".[51]

Fionnuala Halligan of Screen Daily wrote, "Black Box Diaries is one of the discoveries of this year's Sundance film festival: it seems to encapsulate a generation's dreams and disappointments, torments and triumphs."[52]

Nicolas Rapold of the Financial Times found the film "genuinely empowering", writing that its "mix of vérité filmmaking and audio-only interviews ... makes for a visceral account of the ups and downs of her journey".[53]

Guy Lodge of Variety described the film as a "tightly wound, heart-on-sleeve procedural documentary".[54] Justin Chang of the Los Angeles Times called the film "a tough, harrowing work of self-portraiture".[55]

Valerie Complex of Deadline wrote, "Precise filmmaking puts us in [Itō's] mindset through this exhausting investigation, capturing the sadness, joy and determination pushing her forward despite all momentum against her."[56]

Richard Brody of The New Yorker wrote, "Ito unstintingly records the enormous emotional toll that the assault, the legal cases, and her pursuit of justice took on her, and she does so with an unsparingly candid cinematic sensibility."[57]

Drew Burnett Gregory of Autostraddle wrote that the film reveals "not only the facts of her case, but the immense toll this fight takes on her life".[58]

Manohla Dargis of The New York Times wrote, "Black Box Diaries is, at heart, a first-person account, and while it's successful on those terms, it's finally more emotionally engaging than intellectually satisfying."[59]

Nell Minow of RogerEbert.com found the film "intimate, achingly personal" and "a testament to her courage", giving it three and a half out of four stars.[60]

Lovia Gyarke of The Hollywood Reporter called the film "a visceral testimony of survival and recourse" and wrote, "Where Ito's film distinguishes itself is in the diaristic iPhone videos", which "reclaim the idea of testimony, changing it from a public act to an urgent and healing private one".[61]

Accolades

Award Date Category Recipient Result Ref.
Sundance Film Festival 28 January 2024 World Cinema Documentary Grand Jury Prize Black Box Diaries Nominated [62]
CPH:DOX 24 March 2024 Human:Rights Award Won [7]
Hong Kong International Film Festival 8 April 2024 Golden Firebird Award – Documentary Competition Nominated [63]
San Francisco International Film Festival 28 April 2024 Best Documentary Feature Nominated [64]
Special Jury Award Won
Seattle International Film Festival 27 May 2024 Best Documentary Runner-up [65]
Lena Sharpe Award for Persistance of Vision Won
Best Director Shiori Ito 3rd Runner-up
Cinéfest Sudbury International Film Festival 22 September 2024 Inspiring Voices and Perspectives Award Black Box Diaries Won [66]
Zurich Film Festival 13 October 2024 Best International Documentary Film Won [67]
Critics' Choice Documentary Awards 10 November 2024 Best True Crime Documentary Nominated [68]
National Board of Review 4 December 2024 Top 5 Documentaries Won[b] [69]
International Documentary Association Awards 5 December 2024 Best Feature Documentary Eric Nyari, Hanna Aqvilin, Shiori Ito Nominated [70]
Best Director Shiori Itō Nominated
Emerging Filmmaker Award Won
Best Editing Ema Ryan Yamazaki Nominated
Astra Film Awards 8 December 2024 Best Documentary Feature Black Box Diaries Nominated [71]
Alliance of Women Film Journalists 7 January 2025 Best Documentary Film Black Box Diaries Nominated [72]
Cinema Eye Honors 9 January 2025 Outstanding Non-Fiction Feature Shiori Itō, Eric Nyari, Hanna Aqvilin, Ema Ryan Yamazaki, Yuta Okamura, Yuichiro Otsuka, Mark degli Antoni and Andrew Tracy Nominated [73]
Outstanding Debut Shiori Itō Nominated
The Unforgettables Won
British Academy Film Awards 17 February 2025 Best Documentary Shiori Ito, Eric Nyari, and Hanna Aqvilin Nominated [74]
Academy Awards 2 March 2025 Best Documentary Feature Film Shiori Ito, Eric Nyari, and Hanna Aqvilin Pending [75]

Notes

  1. ^ a b Nishihiro, Kajō, and Tsunoda were part of the counsel for Itō in the civil suit against Yamaguchi. Tsukuda, who represents Nishihiro and Kajō, represented Itō in her defamation suit against Mio Sugita.[20][21]
  2. ^ This award does not have a single winner, but recognizes multiple films.

References

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  2. ^ "Black Box Diaries". The Numbers. Retrieved November 15, 2024.
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  4. ^ Stern, Marlow (January 25, 2024). "How Shiori Itō Took on Her Powerful Rapist and Changed Japan Forever". Rolling Stone. Retrieved January 27, 2024.
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  6. ^ "2024 Archives". National Board of Review. Retrieved December 4, 2024.
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  29. ^ MTV Documentary Films [@mtvdocs] (February 13, 2025). "#BlackBoxDiaries has played in over 50 countries across the world, receiving critical acclaim and #AcademyAward + #EEBAFTA nominations. However, Shiori Itō's extraordinary film has been banned from Japan, where it's needed most. Sign the petition today to bring it home" (Tweet) – via Twitter.
  30. ^ a b c 〈全文〉「伊藤詩織さん、真実から目を背けないで」 8年半支えた弁護士が指摘する「映像無断使用」「約束違反」 [(Full text) 'Shiori Itō, don't turn your eyes away from truth': Lawyer who supported her for eight and a half years points out 'unauthorized footage use', 'broken promises']. Tokyo Shimbun (in Japanese). February 20, 2025. Retrieved February 21, 2025.
  31. ^ a b Tsukada, Kenshin (February 20, 2025). 伊藤詩織さん「体調不良」会見直前キャンセル、声明で「個人特定できないよう対処する」 元代理人にお詫びも…初監督作品で対立 [Shiori Itō cancels press conference at last minute due to 'poor health', states 'will make sure individuals cannot be identified', apologizes to former representative; conflict over her directorial debut]. Bengo4.com (in Japanese). Retrieved February 20, 2025.
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  40. ^ Kitahara, Minori (January 30, 2025). 映画「Black Box Diaries」問題に思う 「大きな正義」で「個人の尊厳」を打ち消すのはジャーナリズムか [Asking the film Black Box Diaries: Is it journalism to cancel out 'individual dignity' with 'great justice'?]. Aera Dot (in Japanese). Retrieved February 20, 2025.
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  45. ^ Hata, Takeshi [@lookingawry] (February 20, 2025). ドキュメンタリー映画の倫理について、それぞれの案件の是非については当事者同士にしか分かり得ない事も多いだろうし、外野から発言する事は詳細が分かるまで控えていましたが、Black Box Diariesについては本日の元弁護士チームの記者会見と伊藤さん側が発表した各声明文によって一通りの論点が整理されてきたことと、一方これを機に人格攻撃を行うことで事を解決に向かわせるのではなく論点をうやむやにするような発言が双方どちらを支援する人たちからも散見されるので、ちょっとだけ書きます。 [Since there must be a lot of things only the parties involved may know about ethics in documentary films and the merits of each case, I refrained from making comments from the outside until details came out, but, in regard to Black Box Diaries, the arguments have been sorted out by the press conference by the former representative's team and the statements released by Itō's side today, and, on the flip side, I've seen comments from people who support either side seizing this opportunity to obscure the arguments through personal attacks instead of working toward a resolution, so I'll write a little bit.] (Tweet) – via Twitter.
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Quelle: https://en.wikipedia.org/wiki/Black_Box_Diaries