In a male-dominated industry, Akiko Ashizawa carved her space as a cinematographer, shaping the visual language of films like Tokyo Sonata (2008) and Chronicle of My Mother (2011). Beginning her career in the late 1970s—when few women had entered the field—she worked her way up from being an assistant to becoming one of Japan’s renowned cinematographers. Over the years, she built an extensive portfolio that includes the Indonesian film Vengeance Is Mine, All Others Pay Cash (2021), that won the top prize for Best Film at the 74th Locarno Film Festival, and numerous television commercials.
In Delhi, TMS meets her on the sidelines of the Asian Women’s Film Festival 2025. Though she initially aspired to be a director, cinematography found her by accident. “I picked up an 8mm camera out of curiosity,” she Ashizawa says. “It was exciting, and I realised I wanted to make it my career.”
During her early years in the industry, Ashizawa trained under renowned cinematographers Takayo Oshikiri and Hideo Itō. “Oshikiri-san taught me that as a cinematographer, my job was to understand and translate the director’s emotions and vision through the camera,” she recalls. “Itō-san was originally with Toho, one of the biggest names in the Japanese entertainment industry. But he left the company to become an independent filmmaker. His decision to go independent was inspiring, and it shaped my understanding of creative freedom in the industry.”
More in numbers now
Looking back, Ashizawa acknowledges the challenges of being a woman in a male-dominated space. “At the time, I didn’t think I was treated differently,” she says. “But now, I see there were moments where things were harder for me simply because I was a woman.”
She recalls the “nomikai” culture—Japan’s traditional after-work drinking gatherings—where male colleagues sometimes behaved coldly or inappropriately toward her. Mistakes were often judged more harshly when she made them.
Still, she notes that the industry has evolved significantly. “If people feel there is discrimination today, there are now more efforts to address it. There’s a conscious effort to create a more inclusive space for women.” She also sees increasing acceptance of women returning to work after marriage and childbirth. “There have always been women in this field, and now there are even more behind the camera,” she says. “But opportunities remain limited—especially in handling major themes in filmmaking. Things have improved, but there are still gaps.”
On the set
Despite decades in the industry, Ashizawa still finds joy in cinematography. Her process begins before the shoot, collaborating with directors to shape the film’s visual style. “It’s about translating their vision into reality,” she explains. For horror, she tailors her approach to the director’s intent: “Fear is different for everyone. It could be psychological, supernatural or about something lurking in the shadows…”
Ashizawa’s aesthetic is deeply rooted in nature. “Japan’s four seasons offer endless shades of greenery,” she says, drawing inspiration from classical Japanese landscapes. This influence is evident in To the Ends of the Earth (2019), where her cinematography captures the stunning landscapes of Uzbekistan. Kurosawa, known for fiction films, sought a documentary-like approach with no rehearsals or test shots. “Everything was spontaneous,” Ashizawa says. “We only planned general camera movements to ensure flow—everything else was captured in the moment.”
Ashizawa has worked across a wide range of genres, from horror to romance and drama. But is there a genre she hasn’t tackled yet that she’d like to?
“Variety shows,” she says with a mix of eagerness and hesitation. “I don’t exactly want to work on them, but if I get an offer, I wouldn’t turn it down.” She finds variety shows particularly challenging because of their fast-paced nature and dynamic camera movements. “With so much movement, it’s completely different from my usual work,” she says. Despite her reservations, she values stepping outside her comfort zone. “I might not feel confident about it, but challenges push you to grow.”
Photography work
Beyond cinematography, Ashizawa has also explored photography, publishing books featuring her photographic work. She believes photography and cinematography, while similar, require distinct approaches. “Photography captures a single moment, but cinematography is about movement and lighting in real time,” she says.
Her experience as a cinematographer has sharpened her skills in photography, as the two disciplines often intersect. “In photography, you can afford to wait for perfect lighting. In filmmaking, you don’t always have that luxury—there are people, schedules, and moving elements. You have to create the right conditions yourself.”
Having worked since the 1970s, Ashizawa has seen cinema shift from film to digital. But she insists on preserving the essence of film. “Each medium has its strengths and weaknesses, but I try to retain the best aspects of traditional film while embracing digital tools.”
However, she does not let technology dictate her cinematographic style. She compares her process to that of a painter mixing colours on a palette. “It doesn’t matter what technology I use—I control how my images look. I create my own world through cinematography.”
She does appreciate modern digital cameras for their ease of use. “Today’s cameras are much lighter, allowing for more freedom when capturing scenes in a bustling bazaar or amidst a crowd.”
Now in Delhi, Ashizawa is eager to experience the metro. “I really want to take the metro,” she says. “It’s a space where you can observe social dynamics—from middle-class commuters to high-income professionals. That’s what interests me.” Ever the cinematographer, she sees stories in movement, people, and everyday moments.
Despite decades in the industry, her passion for cinematography remains unwavering. “I don’t know what keeps me going, but I love what I do. As long as I have that, I’ll continue.”
For Ashizawa, cinematography is about collaboration—bringing a shared vision to life. Whether behind a camera in Tokyo or navigating the metro in Delhi, she remains an observer, always searching for the next story to tell.