"That was the first moment we realised that it might be possible to sell Japanese independent films," he explains. "And so I started thinking that we needed an organisation to promote these sales.

"Back in Tokyo, I found some kindred spirits, such as Kiyo Joo and Hiromi Aihara. Most crucially, the Japan Foundation's media department agreed to fund the venture."

Hence the appearance of the stand in the Cinecenter in 1997, with an initial staff of three. The team has since expanded to include fluent English and French speakers and an ever-increasing number of sales executives.

"At the outset we were focusing exclusively on independent productions," says Nishimura. "But we don't want to get bogged down in definitions of what is or isn't an independent film. At Berlin this year we have been joined by major Japanese companies: Shochiku, Daiei and Bandai. This development has been good for all of us. The expansion seems natural. After all, directors such as Morita and Somai, who are both represented in this year's Berlinale, started out as independents and now work for the majors.

"The new involvement of the majors has boosted the number of our market screenings. It is useful for the independents to see at close quarters how the market 'system' works. And we've noticed other changes too. Two years ago, those who came to talk with us were mostly journalists and festival programmers. This year there have been noticeably more buyers showing an interest, and several producers who want to work with Japanese directors or get involved with Japanese productions.

"And this year, for the first time, we have secured additional backing from Tokyo Film Festival, which is exploring the idea of setting up a production/ co-production market along the lines of Rotterdam's Cinemart. It has all been very encouraging." Tony Rayns .