Oscar-nominated documentary ‘Black Box Diaries’ has delayed premiere in Japan after legal issues

“Black Box Diaries,” a documentary chronicling Japanese journalist Shiori Ito’s investigation into her own sexual assault case, finally premiered in Japan on Friday after a long-delayed domestic release. The film, which earned an Oscar nomination and has been screened internationally since its 2024 festival debut, began its Japanese run at a single theater in Tokyo.

The documentary’s domestic release faced significant hurdles, primarily due to a legal dispute over Ito’s use of interviews and footage of witnesses without their consent. Despite these challenges, the film debuted to a full house at the T. Joy Prince Shinagawa cinema complex in downtown Tokyo.

“Until last night, I was afraid if the film is going to come out or not,” Ito told The Associated Press after the screening. “The reason I made this film is because I want to talk about this issue openly in Japan. It’s been like my little love letter to Japan, so I’m just so happy that this day came finally.”

Ito has become the face of Japan’s slowly evolving #MeToo movement since going public with her story in 2015. She is the first Japanese director nominated for an Oscar in the documentary feature film category. The film builds upon her 2017 book, also titled “Black Box.”

The documentary details Ito’s experience as an intern in 2015, when she met senior TBS Television journalist Noriyuki Yamaguchi. According to Ito, she became dizzy during a dinner with Yamaguchi, lost consciousness in a restroom, and was taken to his hotel room where he allegedly raped her while she was incapacitated and continued even after she regained consciousness and asked him to stop.

Ito’s pursuit of justice faced numerous obstacles. Despite filing a criminal complaint, police were initially reluctant to investigate. When they finally did, prosecutors eventually dropped the case without explanation. The film reveals that a planned arrest was halted by higher authorities, raising questions about potential influence from powerful figures.

Key evidence included testimony from a taxi driver who recounted that Ito repeatedly asked to be dropped at a train station, and hotel security footage showing Yamaguchi dragging a struggling Ito into the hotel. Despite this evidence, Ito’s case encountered significant resistance from authorities.

In 2017, Ito filed a complaint against prosecutors and subsequently sued Yamaguchi for damages. In 2022, Japan’s Supreme Court ruled that Ito was forced to have non-consensual sex, ordering Yamaguchi to pay her 3.3 million yen ($21,290). Yamaguchi, who has consistently denied the allegations and claimed the encounter was consensual, filed a counter-suit that was dismissed.

The film resonated with viewers at its Japanese premiere. Koyuki Azuma, an audience member and survivor of sexual abuse, expressed concerns about potential discomfort but instead found herself encouraged by Ito’s determination. “I was cheering her as I watched it,” Azuma said. “I think it will have a positive impact on Japan’s society.”

Japan has historically been slow to implement reforms supporting sexual assault victims, with its legislative and judicial systems dominated by men. A significant breakthrough came in 2023 with the revision of Japan’s century-old law on sexual offenses, providing greater protection for victims and stricter punishment for perpetrators.

The documentary itself became a subject of controversy when Ito’s former lawyers alleged she compromised the privacy of key sources. Yoko Nishihiro, one of these lawyers, expressed concern that Ito’s handling of privacy issues might deter potential witnesses in future sexual assault cases.

Heidi Ka-Sin Lee, a film critic and researcher at Tokyo’s Sophia University, framed the dispute differently: “The lawyers who pointed blame at Ito simply did not mention what the documentary is about or what this documentary would be capable of doing in Japanese culture, Japanese society… I think it all comes down to how to determine public good.”

Ito acknowledged using some content without consent and apologized in February, promising to edit the film to protect identities. She has since altered the voices of hotel staff, a police investigator, and others shown in the film. In October, she specifically apologized to the taxi driver and his family for using footage without permission.

Nevertheless, Ito has maintained that some unauthorized materials remain essential to accurately portraying her experience and the systemic issues surrounding sexual assault cases in Japan.