With the short film Foxing: Kitsuné-tuski (Kitsuné-tuski), as his directorial debut at the 2026 Fantasia International Film Festival, veteran animator Shinozuka Takeru has successfully proven his capabilities as a writer and director able to bring his own ideas to the screen for audiences to relate to and enjoy. A task that came with the added weight of being the first project produced and released by Eterna Animation, the new partner studio to Japan’s world renowned Toei Animation.
Starring the impressive voice work of Wataya Miho as Shinano, a 26-year-old animator, Kitsuné-tuski, is a project that took Shinozuka years to bring to fruition, not just because animation and filmmaking are painstaking processes. Having spent years perfecting his craft as a Key Animator on some of the most popular anime series ever created such as One Piece, Digimon, and the Dragon Ball film franchise, Shinozuka dedicated countless hours between projects bringing the visions of other artists to life, crafting a story that he and his peers could relate to; the frustrations and self-doubt that comes with being a creative.
In Shinano, Shinozuka actualises the intense insecurities, doubts, recriminations, and even fear that can overwhelm artists—be they animators, singers, writers, and filmmakers—when the desire to be perfect and have your work understood creates an almost psychically crippling anxiety to do that very thing, create. For Shinano, whose internal monologue is droll and weary with confusion as to why she can’t seem to pull herself out of her funk, these emotions manifest in the form of Konami, a Kitsune (fox) that taunts her like a haunting apparition at every turn. Konami teases, pokes, and prods at every insecurity Shinano has about herself and her abilities, calling her drawings ugly, belittles her appearance, and mocks her fear of being called on to take part in a competition that could help her career.
In Japanese folklore the Kitsune are intelligent mischievous trickers who take pleasure in messing with their selected targets, and in media they’re often portrayed as being wily with an attitude of thinly veiled disdain, but with Konami, Shinozuka gives another perspective of the creatures that adds depth to the story and both Shinano and Konami’s characterisations making them metaphors for mental health awareness. Konami isn’t the way she is for no reason. In Japanese, the word “kitsune-tuski” means ‘to be possessed by a Kitsune’, and that’s what Shinano is. She sees herself as being possessed by Konami, making her own creation the reflection of a young woman who feels she’s not good enough to pursue her childhood dream, that she doesn’t belong in the same space as the people she works with and look up to.
Konami isn’t the only creation that haunts Shinano. Other drawings she’s hidden away and discarded surround her, whisper and taunt her to let them be seen, and with these creatures, Shinozuka makes an interesting visual choice, because much of the colouring used in Kitsuné-tuski are darker toned water colours; almost muddy, like the colour of water used by painters to wash their brushes.
In contrast, Konami and the creatures, also voiced by Wataya, are more vibrant. She with yellow and tan fur, wears a white traditional kitsune-men, a short white kimono and blue hakama, while the others are of every colour imaginable, almost like the imaginings of a child. Whether a feature length film or a short, voice acting is a skill that requires an understanding of how to convey every emotion a character is feeling in order for the audience to relate to what’s being expressed through the animated work. What Wataya Miho achieves as a voice actor is quite impressive, giving unique and memorable vocal identities to each character.
At 26, Shinano is at a transition point in her life where she’s no longer a kid, a teen who doesn’t have to think too hard about responsibilities and what comes next, to having a sort of existential crisis realising that she’s now truly an adult. And that’s terrifying. Because what does it mean to be an adult? What does it mean to finally have the chance to do the very thing you want to do but not have trust in your own abilities? Why is the voice of criticism in our own heads louder than the one that gives encouragement?
Foxing: Kitsuné-tuski, doesn’t end with any grand revelations about what it means to be an adult and artist in today’s modern, fast paced and high stress capitalist societies that in many ways encourage us to isolate ourselves, and Shinozuka is smart to do so because he himself, as we all are, is still figuring life out, and he has the tools to use his talents to express that just like Shinano does. And that’s what I think that’s the purpose of art.
For the film’s world premiere at Fantasia, Shinozuka spoke to me about having discussions with his friends and other filmmakers about their work and careers during the animation process, using specific visual cues to represent Shinano’s rocky transition into adulthood, and working with Wataya Miho. Joining Shinozuka for the interview was Producer Eterna Animation representative Moriyama Yoshide, who spoke about the audition process, finding composer Sakaguchi Daisuke, and what Eterna means for Toei as a new chapter in the company’s future.
Interpretation for the interview was conducted by Alexe Frédéric Migneault.
Carolyn Hinds
Freelance Film Critic, Journalist, Podcaster & YouTuber
African American Film Critics Association Member, Tomatometer-Approved Critic
Host & Producer Carolyn Talks…, and So Here’s What Happened! Podcast
Bylines at Authory.com/CarolynHinds
Twitter & Instagram: @CarrieCnh12
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The post Fantasia IFF 2026 Interview with ‘Foxing: Kitsuné-tuski’ Animator and Filmmaker Shinozuka Takeru and Producer Moriyama Yoshihide appeared first on K Crush America Magazine.
