<html><head><meta http-equiv="Content-Type" content="text/html; charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;" class="">I see that some have defended Shukan Bunshun because it has been one of the few publications to consistently report on sexual and power harassment in the film industry. (It broke both the Sono Shion and the Sakaki Hideo stories.) So it might not be too easy to reject.<div class=""><br class=""></div><div class="">The timing of this new article obviously goes with the release of the first part of her Olympics documentary, and the initial articles about the film. I see there is criticism on social media of her first public statements about the film on its release, when she makes comments like this:</div><div class=""><br class=""></div><div class="">"I wanted to bring the focus back on the everyday hustle, challenges
and the strife, especially of the committee members, issues of feminism.
Also, of the government officials who took upon themselves this
responsibility having committed Japan to holding these Games. There’s something incredibly Japanese about this idea of
responsibility and commitment. Maybe it cannot be fully understand
beyond Japan. The notion of what you’ve decided, you have to see
through."</div><div class=""><a href="https://variety.com/2022/film/news/kawase-naomi-japan-olympics-cannes-film-festival-1235277301/" class="">https://variety.com/2022/film/news/kawase-naomi-japan-olympics-cannes-film-festival-1235277301/</a></div><div class=""><br class=""></div><div class="">Her notions of both what is “Japanese” and what is “feminism” have some people scratching their heads.</div><div class=""><br class=""></div><div class="">Aaron</div><div class=""><br class=""></div></body></html>