Seventy-five years after soft serve ice cream first arrived in Japan, the dessert’s evolution from novelty to cultural staple is being documented in a comprehensive three-day exhibition. The Soft Serve Ice Cream History Exhibition, held at ZeroBase Shibuya from July 3 to July 5, 2026, commemorates this milestone anniversary while coinciding with Soft Serve Ice Cream Day on July 3rd. Unlike standard product launches or limited-time pop-ups, this exhibition functions simultaneously as an educational archive and a tasting experience, offering visitors complimentary servings of CREMIA—typically a premium-priced soft serve—upon completion of an interactive quiz.

Three Floors of Soft Serve History

The venue occupies three distinct floors, each serving a specific curatorial purpose. On the first floor, the Soft Serve Ice Cream History Exhibition traces the dessert’s trajectory from its introduction to Japan through its establishment as a ubiquitous sweet, organizing the narrative by historical era. The second floor shifts focus to contemporary soft serve technology, specifically examining the development of CREMIA, a premium fresh cream soft serve distinguished by its use of 25% Hokkaido fresh cream and a langue de chat cone—a combination that reportedly required over 400 prototypes to perfect. Here, visitors encounter exhibits detailing the engineering and ingredient sourcing that separate premium soft serve from conventional varieties. The basement level (B1F) provides a photo space featuring a 1.5-meter CREMIA object, scaled to create a surreal visual juxtaposition for photography and video content.

The CREMIA Tasting Experience

The exhibition’s central interactive element involves a quiz distributed throughout the historical displays. Visitors who answer all questions correctly receive a complimentary tasting set containing three distinct CREMIA varieties: the original CREMIA, served in its signature langue de chat cone; CREMIA the Matcha; and CREMIA the Chocolat. The latter two are served in mini cups, and all three come with “E-spoons”—edible spoons manufactured from cone cup material that eliminate waste.

The original CREMIA emphasizes a high butterfat content from Hokkaido dairy, producing what the developers describe as a rich milky texture with a clean finish. The Matcha variant, released in March 2026 after eight years of development, incorporates Uji matcha supervised by a tea master who received Japan’s Minister of Agriculture, Forestry and Fisheries Award; the formulation specifically balances the fresh cream’s richness against the matcha’s natural umami and sweetness rather than masking it. CREMIA the Chocolat targets dark chocolate enthusiasts, utilizing an original blend of Belgian chocolate and cocoa mass derived from Ecuadorian beans to create a rich, bittersweet profile.

Limited-Edition Venue Gifts

Beyond the tasting and exhibition components, visitors who photograph their experience and post to X, TikTok, or Instagram using the hashtag #ソフトクリームの日 (#SoftServeIceCreamDay) may select one limited-edition sticker from three designs corresponding to the available flavors (CREMIA, CREMIA the Matcha, and CREMIA the Chocolat).

Visitor Information

Venue: ZeroBase Shibuya
Access: Shibuya Station
Address: 〒150-0043 2-5-8 Dogenzaka, Shibuya-ku, Tokyo (MAP)
Dates: July 3 (Friday) – July 5 (Sunday), 2026
Hours: 11:00 – 20:00
Admission: Free

Entry Procedure: Numbered tickets are distributed from 10:30 each morning in front of the venue. Distribution ceases once tickets are exhausted. Those without numbered tickets may enter through the general admission line, though admission may be restricted if the facility reaches capacity.

Official Website

Published content may be subject to change. Please check the official website of the venue or organizer for the latest information.

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Nissei has manufactured frozen desserts in Japan since 1951; in 2012, the company introduced CREMIA, a soft-serve product defined primarily by its butterfat content of approximately 12.5%. Standard soft serve typically contains 3% to 6% fat. The higher density creates a heavier, less aerated texture—closer to gelato or frozen custard than to the light, quick-melting soft serve common at convenience stores. This density requires specialized extrusion machines capable of shaping the mixture into a stable spiral while maintaining the structural rigidity that conventional equipment, designed for lighter mixes, cannot provide.

CREMIA’s cone differs from standard industry options. Instead of thick, sugary waffle cones or pale cake cones, it uses a langue de chat biscuit—a thin, crisp butter cookie modeled after the French original. The cone fractures cleanly when bitten, avoiding the chew of a thick waffle cone while adding a distinct butter flavor that matches the dairy-heavy base.

The ingredients are sourced primarily from Hokkaido, the northern island that produces the majority of Japan’s milk. Nissei employs precise temperature control systems to maintain the high-fat mixture at colder temperatures than standard soft serve, preventing the rapid melting associated with richer dairy content.

The result sits between mass-market soft serve and artisanal gelato: manufactured for retail distribution through dedicated kiosks and partnerships, but composed with ingredient specifications that place it at a higher price point. At the Shibuya exhibition, visitors can examine the extrusion mechanics directly and compare how the higher fat content affects mouthfeel and melting speed against conventional formulations.

Target: Wild Birds! Wing-Kyun♥

Frolicking with Flowers, Singing to the Wind

Long before the “Wing-Kyun” of a charm trend entered modern lexicon, the Japanese archipelago sustained a profound, complicated kinship with its avian populations. Whether regarded with longing or utility, admiration or appetite, birds have occupied a singular position in the cultural imagination—simultaneously quotidian and divine. Ancient belief systems elevated them as messengers of the gods, their graceful trajectories across the sky interpreted as communication between earthly and celestial realms; poetry layered human joys and sorrows onto the contours of their songs, creating a literary tradition where the nightingale’s call or the pheasant’s cry became vessels for existential reflection.

This relationship crystallized into distinct cultural forms during the Edo period (1603–1868), when urbanization and economic growth generated new arenas for artistic expression and leisure. Bird-keeping transcended class boundaries, with shoguns and commoners alike participating in competitive song contests, while ukiyo-e artists documented both rare imported species and native birds with scientific precision and aesthetic sensitivity. Culinary traditions incorporated game birds into haute cuisine, and falconry remained a samurai prerogative that demanded lifelong mastery.

The exhibition Target: Wild Birds! Wing-Kyun♥ examines this multifaceted heritage through the specific lens of wild birds—that is, those creatures soaring beyond the cage, defying domestication—tracing their presence across tangible and visual cultures. Rather than presenting ornithological specimens in isolation, the curators have organized the experience as a journey through four interconnected realms: the practical economies of traditional cormorant fishing and falconry, where human and bird operate as hunting partners; the decorative arts, wherein avian patterns migrated from nature studies onto textiles and fashion objects; the material history of pigments and dyes extracted from plumage; and optical perspectives that attempt to visualize terrain as seen through avian eyes—scales of vision inaccessible to terrestrial observers.

Central to the exhibition are the works of Utagawa Hiroshige, the ukiyo-e master whose landscapes frequently positioned birds as compositional anchors or atmospheric elements. His prints serve not merely as artistic centerpieces but as documentary evidence of how Edo-period observers situated birds within specific topographies and seasonal moments.

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Practical Information

Dates: Thursday, May 28, 2026 – Sunday, September 27, 2026
Closed: Public holidays
Hours: 9:00–16:00 (Entry until 15:30)
Location: MUFG Bank Currency-Ukiyoe Museum
Admission: Free

Contact:
MUFG Bank Currency-Ukiyoe Museum
TEL: 052-300-8686 (English inquiries not available)
Website: https://www.bk.mufg.jp/currency_museum/index.html

Access:

• Approximately 5 minutes walk from Exit 3 of “Fushimi Station” on the Subway Higashiyama Line
• Approximately 5 minutes walk from Exit 8 of “Sakae Station” on the Subway Higashiyama Line

Important Note: There is no parking available. Please use public transportation.

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The MUFG Bank Currency-Ukiyoe Museum occupies a limestone building in the basement level of Mitsubishi UFJ Financial Group’s headquarters, just south of the Bank of Japan. The space displays corporate collections accumulated since the bank’s earliest predecessors opened in the 1880s: currency artifacts on one side, ukiyo-e woodblock prints on the other, with no admission fee.

The numismatic holdings trace Japanese money from the oval koban gold coins of the Tokugawa period through the rectangular silver pieces that predated decimalization. Cases display minting plates, early checks, and the steel dies used to print Meiji-era banknotes. These industrial objects sit near the ukiyo-e collection, which includes recognized works by Hokusai and Hiroshige alongside anonymous prints depicting the Nihonbashi commercial district and the entertainment quarters where banking families spent their leisure.

The museum makes no artificial distinction between these materials. Currency design required the same engraving skills used in woodblock printing; both involved anti-forgery measures, serial numbering, and the calculation of production costs per impression. Ukiyo-e artists documented the same financial districts where the bank’s predecessors operated, and merchant collectors stored prints in the same fireproof chests used for cash reserves.

The 2026 exhibition on avian imagery maintains this practical curatorial stance. It examines how bird illustrations moved from natural history manuals onto banknote designs and into luxury prints commissioned by banking families, treating these connections as historical facts rather than philosophical revelations. The museum simply presents the artifacts side by side, allowing visitors to observe how Japan’s financial and visual cultures developed through shared techniques, patronage, and daily necessity.

Japanese Afternoon Tea ~Karin~ [The Prince Gallery Tokyo Kioicho]

A temari-sushi style afternoon tea to leisurely enjoy summer flavors and Japanese elegance.

As the summer sunlight intensifies, the morning glory reaches its peak bloom—a seasonal transition that serves as the inspiration for the “Karin” Japanese-style afternoon tea. Themed “Morning Glories Blooming in a Summer Garden,” this curated experience at The Prince Gallery Tokyo Kioicho reimagines the traditional afternoon tea format by replacing sweets and scones with the meticulous artistry of temari-sushi and seasonal Japanese delicacies. By utilizing premium summer ingredients such as isaki (striped beakperch), kuruma prawns, corn, and edamame, the venue creates a sensory bridge between the cool aesthetics of a summer garden and the refined skills of professional sushi chefs.

The experience is centered around a main stand that showcases a sophisticated array of temari-sushi. Guests can expect a luxurious selection of tuna, including otoro (fatty tuna), chutoro (medium fatty tuna) paired with sea urchin, and lean tuna accented with sesame. The seafood variety extends to isaki and scallops topped with caviar-roli, kuruma prawns paired with salmon roe, amadai (tilefish), and anago (conger eel). To complement these, two types of roll sushi are provided: an avocado and dried tomato combination, and a squid pairing with mentaiko (spicy cod roe) mixed with mayonnaise.

What truly distinguishes this offering from standard afternoon teas is the “Asagao Sushi”—two visually striking arrangements designed to mimic the colors of morning glories. The red version utilizes sushi wrapped in red radish, accented with blueberries, raspberries, and red wine agar, while the blue version employs cucumber wraps topped with kiwi fruit and butterfly pea agar to evoke a refreshing, summer-cool palette.

Beyond the sushi, the menu incorporates a progression of flavors designed to balance richness with freshness. Appetizers include seasonal ohitashi (blanched vegetables), a corn mousse with bacon and salted kelp sauce, and edamame kakiage (tempura fritters). This is followed by a savory chawanmushi that preserves the delicate flavor of snow crab. To conclude the experience, the dessert course provides a light contrast through refreshing anmitsu and mango pudding—sweets specifically chosen for their suitability during a humid summer afternoon.

Located high above the city, this event offers the opportunity to savor a fusion of culinary craftsmanship and scenic Tokyo views, making it an ideal destination for those seeking a sophisticated, Japanese-centric alternative to the classic tea service.

Menu Details

ASAGAO SUSHI

• RED: Blueberry, Raspberry flakes, Red radish, Red wine agar
• BLUE: Kiwi fruit, Cucumber, Butterfly pea agar

Main Stand

• Otoro Temari
• Chutoro Temari with Sea Urchin
• Lean Tuna with Sesame
• Isaki with Caviar-roli and Basil
• Scallop Temari with Caviar-roli
• Amadai (Tilefish) Kobu-jime
• Anago (Conger Eel) with Reduced Sauce
• Kuruma Prawn with Salmon Roe
• Avocado and Dried Tomato Roll
• Squid and Mentaiko Mayonnaise Roll

Appetizers

• Seasonal Ohitashi
• Corn Mousse with Bacon and Salted Kelp Sauce
• Edamame Kakiage

Steamed Dish

• Snow Crab Chawanmushi

Dessert

• Assortment of Seasonal Fruits and Sweets

*Images are for illustrative purposes.
*Please check the official website for details on the content.

Basic Information

• Location / Nearest Station
  The Prince Gallery Tokyo Kioicho
  Nagatacho Station / Akasaka-mitsuke Station
• Address
  〒102-8585
  1-2 Kioicho, Chiyoda-ku, Tokyo
  MAP
• Venue
  • WASHOKU 蒼天 SOUTEN (35F)
  • Sky Gallery Lounge Levita (35F)
• Period
  Monday, 2026/06/01 ～ Monday, 2026/08/31
• Time
  • WASHOKU 蒼天 SOUTEN (35F): 11:30 A.M. ～ 2:30 P.M.
  • Sky Gallery Lounge Levita (35F): Weekdays 2:00 P.M. ～ 4:00 P.M.
    *2-hour limit
• Price/Cost
  From \8,000
  *Reservation required for 2 or more people
• Inquiries
  03-3234-1136 (Notes: 10:00 A.M. ～ 7:00 P.M.)
• Other URL
  The Prince Gallery Tokyo Kioicho

*Listed content may be subject to change. For the latest information, please check the official website of the venue/organizer.

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What is temari-sushi?

Temari-sushi takes its name from the embroidered silk balls once used as toys in Japan. The sushi consists of small portions of vinegared rice shaped into round balls and topped with fish or other ingredients. Unlike nigiri, which chefs typically press into rectangles, temari-sushi is formed by hand into a sphere. This shape makes the rice and topping roughly equal in proportion. The presentation tends to highlight color and geometric arrangement rather than the elongated simplicity of traditional pressed sushi. Where nigiri emphasizes the fish slice draped over rice, temari treats the topping and rice as a combined unit, allowing for compositions that would be structurally unstable in other formats.

The form developed during the Edo period as a practical variation that could be eaten in a single bite. The small size allows diners to sample multiple toppings without committing to a large portion of any single type. Because the rice is lightly packed by hand rather than molded, the texture remains distinct from the denser bite of machine-pressed sushi. The round base accommodates toppings that might not balance on oblong nigiri: thin slices of fish gathered at the top, small clusters of roe, or thinly shaved vegetables pressed gently into the surface. This structural flexibility lets chefs pair the rice with ingredients that would slide off or deform the standard rectangular shape.

Today, temari-sushi appears in contexts where individual portions improve service. The format works well for catering, afternoon tea, or multi-course meals where guests try many small dishes rather than a full progression at a sushi counter. In warmer months, chefs often favor toppings that benefit from chilling or deteriorate quickly at room temperature—citrus-marinated fish, scallops, or salmon roe. The small rice base cools rapidly, and because each piece is consumed immediately after preparation, the format avoids the gradual warming and textural softening that affects larger platters left sitting.

Peach Vacation Afternoon Tea

A luxurious moment to fully enjoy the sparkle of summer, woven together by fragrant peaches and mellow melons.

This seasonal afternoon tea celebrates summer’s peak produce through careful craftsmanship rather than novelty for its own sake. The pastry team has constructed a menu around two primary fruits—peaches and melons—treating each with precision that respects their distinct characteristics.

The sweets selection layers technique with seasonal timing. The “Peach Verrine” demonstrates this through structure: sparkling wine jelly set over rich panna cotta, creating textural contrast that keeps the palate engaged. The peach tart uses fully ripened fruit, the kind that yields slightly under pressure and releases concentrated juice. For the “Melon Mousse,” white chocolate provides fat content that carries rather than competes with the melon’s subtle floral notes.

Seven varieties make up the pastry component, each with specific intent. The “Hat Mousse” references summer straw haberdashery; the “Bag-shaped Mousse” carries a Mallorca tile pattern that connects to Mediterranean vacation aesthetics. Financiers receive a saline element—unusual for the typically sweet format—to reset sweetness perception. The “Pesque Dolce,” a traditional French peach-shaped confection, anchors the menu in established technique.

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■ Chef’s Special Savories

Three composed items balance the sweetness density of the pastry program:

• Peach soup: Gentle sweetness with refreshing acidity, served chilled
• Summer vegetable pickles: Mirabelle plum provides sweet-sour brightness against raw and lightly processed vegetables
• Risotto arancini: Bite-sized, with crisp exterior coating and concentrated umami from the rice base, set over grilled zucchini

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■ Tea and Beverage Options

Plan	Inclusions
Standard Plan	All-you-can-drink tea, coffee, soft drinks
Tea Selection Plan	Above plus Mariage Frères teas and flavored teas

The Mariage Frères integration—this is the distinguished French house founded in 1854—offers a measurable upgrade for those who track tea provenance.

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■ Optional Additions

Item	Price	Notes
Tropical Sunset Parfait with Häagen-Dazs	From 2,990 yen (with café)	Yokohama and Omiya stores only; available for individual order
Tropical Sunset Mini Parfait with Häagen-Dazs	1,200 yen	—
Special Drink “Peach Float”	1,200 yen	—
Red Peach and Lychee Rose-scented Semifreddo	1,500 yen	Summer seasonal specialité
Tea Selection upgrade	500 yen	—
Message Plate	500 yen	—

The semifreddo merits particular attention: peach compote, rose-scented mousse, and lychee operate as a composed dessert rather than a simple parfait. The temperature gradient—frozen mousse against room-temperature compote—creates the “moment of elegant vacation” the menu describes.

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■ Lunch Set Options

Afternoon tea without savories; suitable for lighter appetites

Set	Price	Contents
Pasta Lunch	1,500 yen	Chilled cauliflower potage / Short pasta with small shrimp and salsiccia
Chicken Lunch	1,500 yen	Chilled cauliflower potage / Poule Basquaise: Basque-style tomato stew with selected chicken thigh

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Complete Menu

【Sweets】

• Peach Melba Verrine Style
• Bergamot-scented Hat Mousse
• Peach Tart
• Peach Couture Mousse
• Financier Fleur
• Pesque Dolce
• Melon and Citron Gateau

【Savories】

• Risotto Arancini
• Chilled Cauliflower Potage
• Summer Vegetable Pickles with Mirabelle Flavor

【Scone Stand】

• Tea / Plain (with White Peach Jam)

【Drinks】

See plan descriptions above; last order 90 minutes from seating

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Venue-Specific Details

◆ Omiya Riku / Cafe & Restaurant Shikitei

Dates	Wednesday, June 17, 2026 – Monday, August 31, 2026
Closed	Tuesdays
Hours	11:00–16:30 (Last entry 15:00)
Pricing	Weekdays from 4,580 yen / Weekends & Holidays from 4,800 yen
Note	Consumption tax included; 15% service charge separate

Location details | Nearest stations: Toro Station, Kamomiya Station

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◆ Applause Square Tokyo Geihinkan

Dates	Select dates June 19 – August 29, 2026 (see full schedule below)
Weekday hours	12:00–14:00
Weekend/Holiday hours	1st session 12:00–14:00 / 2nd session 16:15–18:15

Date key: ◎ Dogs allowed | ☆ 1st session only | ★ 2nd session only

June	July	August
19 ◎Fri	3 ◎Fri	1 ◎Sat
26 ◎Fri	5 ★Sun	2 ☆Sun
28 ◎Sun	10 ◎Fri	7 ◎Fri
	12 ★Sun	8 ★Sat
	17 Fri	9 Sun
	20 ◎Mon (Holiday)	11 ☆Tue (Holiday)
	24 Fri	14 ◎Fri
	26 Sun	15 Sat
	31 Fri	16 ☆Sun
		28 Fri
		29 ★Sat

Plan	Weekdays	Weekends/Holidays
Standard Plan	5,000 yen	5,500 yen
Tea Selection Plan	5,500 yen	6,000 yen
With Lunch Set	from 6,500 yen	from 7,000 yen

Location details | Nearest station: Akebonobashi Station

Inquiry: 03-5368-4700
Note: Closed every Monday and Tuesday (except holidays) and dates specified by the company

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◆ Ristorante Mangiare Iseyama (Yokohama)

Dates	Wednesday, June 17, 2026 – Monday, August 31, 2026
Closed	Tuesdays
Weekday hours	12:00–17:00 (Last entry 15:00)
Weekend/Holiday hours	14:00–16:30 (Last entry 15:00)
Pricing	Weekdays from 5,500 yen / Weekends & Holidays from 6,000 yen

Location details | Nearest station: Sakuragicho Station

Inquiry: 045-260-8845

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◆ Contact Information

Venue	Phone
Omiya Riku Cafe & Restaurant Shikitei	048-662-5551
Applause Square Tokyo Geihinkan	03-5368-4700
Ristorante Mangiare Iseyama	045-260-8845

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Official Website

All prices include consumption tax and 15% service charge unless otherwise noted. Items other than the “Tropical Sunset Parfait with Häagen-Dazs” must be ordered as a set with the afternoon tea. Menu contents may change based on ingredient availability. Listed content may have changed; confirm current details with the venue or official website.

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What is Tokyo Geihinkan?

Tokyo Geihinkan, also known as the Tokyo State Guest House, occupies the former Akasaka Palace in Tokyo’s Minato ward. The building has served as one of Japan’s official state guest houses since 1947, when the Imperial household transferred it to government use.

The structure itself dates to 1909, when architect Katayama Tokuma completed it as a residence for the Crown Prince. Katayama worked in a Neo-Baroque idiom that looked toward European models—an approach shared by several prominent Meiji-era architects who had trained abroad. The result is a building that sits somewhat apart from the Japanese architectural mainstream of its period, though its construction involved Japanese craftsmen and materials throughout.

As a functioning guest house, the building receives foreign heads of state, monarchs, and diplomatic visitors. The Main Hall, with its ceiling chandeliers and parquet flooring, serves as the principal reception space. The Sairan Room contains woodwork by the Imperial Household carpenters, executed in traditional techniques that offset the building’s European envelope. The grounds follow formal garden conventions with some adaptation to the hillside site.

The Geihinkan opens to the public on designated days throughout the year, and has occasionally hosted seasonal dining events. These are ticketed affairs with limited seating, offering access to parts of the building not included in standard tours. The food and service follow the protocols developed for official hospitality. Whether the experience justifies the logistical effort and cost depends on one’s interest in the building itself—there is little else to warrant the trip, as the surrounding Akasaka district offers more convenient dining elsewhere.

For those who do visit, the value lies in observing how the space accommodates both its ceremonial functions and its occasional public role. The building was designed to impress, and it continues to do so. What has changed is the context: a residence built for an heir to an empire now serves a democratic state, and a space once entirely private now admits visitors who observe the machinery of diplomatic hospitality from a distance.

The 1st Nagoya International Film Festival

“Creating the entertainment culture of a hundred years from now”

The Nagoya International Film Festival distinguishes itself from the typical film festival model. Rather than operating as a closed venue for criticism intended only for a limited number of enthusiasts and industry insiders, it positions itself as an open, urban-style entertainment festival where filmmakers, business people, and citizens converge. Set against the backdrop of the Meieki and Midland Square area, the event creates space for these groups to resonate and unite around shared cultural passion.

What does this mean for attendees? The festival offers proximity to filmmakers active on the world’s front lines, providing direct exposure to contemporary cinema at its most ambitious. It also functions as a launch point for creators who will lead the next generation. The organizing principle is clear: connecting chains of “emotion” and “discovery” from Nagoya toward the future.

Event Details

Dates	April 3 (Sat) – 4 (Sun), 2027
Time	13:00–15:00 (Red carpet implementation time)
Location	Midland Square (Public roads around the Meieki south side plaza, B1F Atrium, 5F Midland Hall, 5F Midland Square Cinema, etc.)
Fees	Only movie tickets are paid
Contact	Nagoya International Film Festival Executive Committee — [email protected]
Website	https://niff.or.jp/

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Access

By train:

• Approximately 5 minutes walk from the Sakura-dori Exit of “JR Nagoya Station”
• Approximately 3 minutes walk from the Central Ticket Gate of “Meitetsu Nagoya Station”
• Approximately 3 minutes walk from the Front Ticket Gate of “Kintetsu Nagoya Station”
• Approximately 1 minute walk from the Higashiyama Line South Ticket Gate of “Subway Nagoya Station”

By bus:

• Approximately 0 minutes walk after getting off at the Nagoya City Bus “Nagoya Station (Platform 21)”
• Immediately upon getting off the Aoi Kotsu Highway Bus at “Nagoya Station (In front of Midland Square)”

Nagoya houses the Toho Chukyo Studio in Midori Ward, one of Japan’s three major film production facilities outside Tokyo. Built in the post-war era on industrial land south of the city center, the lot includes soundstages large enough for kaiju films and standing water tanks for marine sequences—resources that remain scarce in Tokyo’s dense studio districts. Toho used the location to shoot tokusatsu effects sequences when productions outgrew their Tokyo backlots, capitalizing on the available warehouse space for miniature construction and wire-work rigs.

The Eizo Film Studio maintains a separate facility nearby, where crews have built and maintained period architecture for historical drama since the 1950s. Rather than dismantling sets after each production, Eizo kept its Edo-period street facades and castle walls standing, allowing directors to return for location shooting without reconstruction delays. This established Nagoya as a fabrication center rather than simply an exhibition market—a city that builds sets and weaves costumes rather than just projecting finished work.

The Aichi Film Commission coordinates location shooting across the prefecture, matching productions to specific sites from the preserved tie-dyeing district of Arimatsu to the crystalline towers of Nagoya Station. The commission maintains databases of industrial corridors, coastal ports, and mountain villages within driving distance of the studio lots, allowing crews to return to editing suites without overnight travel. This logistical infrastructure reflects the region’s manufacturing base, where precision coordination and technical labor already defined the industrial culture.

Hosting an international festival here places visitors within a working production environment. Theaters sit near active soundstages where crews still build miniatures and rig practical effects; local hotels regularly house location scouts and armorers alongside actors. While many festival cities import cinema as a finished commodity, Nagoya maintains the equipment rental houses, prop workshops, and technical schools that produce the work. The event accordingly emphasizes craft—offering workshops in special effects and set construction alongside premieres—acknowledging that the physical labor of filmmaking remains visible here in ways it is not in cities devoted primarily to exhibition.

Utsukushikunaru Beer Garden / Matsuya Ginza

The beer garden returns to the rooftop of Matsuya Ginza this year! You can enjoy a menu incorporating Mexican essences in a space full of a sense of openness.

This year’s theme, “A Touch of Mexican Spirit: Beautifully, Freely, Cheerfully,” marks a notable evolution from previous iterations. Where earlier seasons centered on grilled dishes alone, the 2026 program expands into full Mexican territory—tacos, fresh salsa, and tequila cocktails now share equal billing with the fire-kissed proteins. The result is an atmosphere that channels the cheerful spontaneity of Mexican food culture rather than merely borrowing its flavors.

The rooftop setting remains the draw. Under open sky with breeze threading through, sofa seating and terrace arrangements designed for photographs create distinct zones. Latin music and saturated color accents complete the environmental shift without overstatement.

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Featured Menu

Standard Plan (7,700 yen per person)
The foundational option centers on beef sirloin, domestic pork from Nihonbashi Hiyama, young chicken from Ginza Gyukura, coarse-ground wiener, and chorizo from Rohmaya. Accompaniments include guacamole, salad, and tacos to close. Two-hour seating with all-you-can-drink included.

Note: Four total plans accommodate different group sizes and preferences—the Standard Plan suits straightforward gatherings, while upgraded tiers (inquire directly) layer in additional courses or premium proteins.

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Beverage Program

Category	Selection
Draft Beer	Asahi
Craft Beer	6 varieties, including Modelo Especial
Beer Cocktails	4 types
Non-Alcoholic Cocktails	3 types
Non-Alcoholic Beer	1 type

The inclusion of Modelo Especial—a Mexican import rarely found at Tokyo beer gardens—signals the thematic commitment more clearly than any decoration could.

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Practical Considerations

Heat Countermeasures: Paper fans (uchiwa) distributed; ice water available

Barbecue Format: Hands-free—staff manage the grilling

Seating: 250 outdoor seats maximum; groups up to 250 people accommodated

Weather: Roofed structure permits operation in rain; wind may introduce precipitation into seating areas. Severe weather triggers cancellation.

Reservations: Web booking available; walk-ins accepted with same-day seats often accessible

Payment: Credit card, QR code, electronic money, cash

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Access & Hours

Location: Matsuya Ginza Rooftop
Address: 3-6-1 Ginza, Chuo-ku, Tokyo 104-8130
MAP

Nearest Stations:

• Ginza Station: 1 minute walk
• Ginza-itchome Station: 3 minutes
• Higashi-ginza Station: 3 minutes
• Yurakucho Station: 8 minutes

Event Period: May 20 – September 30, 2026

Day	Hours	Final Entry
Weekdays	17:00–22:00	20:00
Saturdays/Holidays	12:00–22:00	20:00
Sundays/Last day of consecutive holidays	12:00–21:30	19:30

• Last food order: 1 hour before closing
• Last drink order: 30 minutes before closing
• Hands-free BBQ final start: 20:00

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Contact & Information

Inquiry: 050-3623-3937
Staff available 12:00–21:00; 24-hour automated guidance

Official Site: https://utsukushikunaru-beergarden.com/

Instagram: https://www.instagram.com/utsukushikunaru_beergarden/

The published content may have changed. Please check the venue or organizer’s official website for the latest information.

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What is Matsuya Ginza?

Matsuya Ginza is a historic department store in Tokyo’s Ginza district, founded in 1869 and operating from its current building since 1923. It stands among Japan’s oldest surviving department stores, occupying a prominent position on the central Ginza thoroughfare.

The store serves a clientele drawn to high-end fashion, cosmetics, traditional crafts, and gourmet food. Its multiple floors maintain a restrained atmosphere that owes as much to the surrounding neighborhood’s character as to any deliberate preservation effort. The result is a shopping environment that feels distinct from the explicit luxury branding common in newer retail developments.

On the rooftop, a seasonal beer garden operates during warmer months. The space offers open-air seating with views across the Ginza skyline—an unobtrusive addition that draws steady visitors without aggressive promotion. The concept is straightforward: quality drinks, adequate service, and temporary relief from the street-level density below. In a district where many establishments compete for distinction through novelty or spectacle, this relative modesty is itself notable.

The store’s longevity suggests that certain approaches to retail—consistency over reinvention, understatement over announcement—retain their effectiveness. Whether this constitutes a deliberate strategy or simply institutional inertia is difficult to determine from outside. Either interpretation is compatible with what visitors actually encounter.