Born in Japan, Kyoko Miyake studied history at Tokyo University and then moved to Britain to research the history of witchcraft at Oxford. Her film “Brakeless” won a Peabody Award after airing on PBS and BBC. Her first film, “My Atomic Aunt,” was supported by the Sundance Institute Documentary Fund, BBC, WDR, and NHK, and it was recently broadcast on PBS. “Hackney Lullabies” won the Berlin Today Award at the 2011 Berlinale and screened at the BFI London and Sydney Film Festivals.

“Tokyo Idols” will premiere at the 2017 Sundance Film Festival on January 20.

W&H: Describe the film for us in your own words.

KM: “Tokyo Idols” follows a phenomenon currently popular in Japan of young female singers performing on the internet and “idol bars” and their middle-aged male fans. The film explores the disconnection between men and women in a hyper-modern society.

W&H: What drew you to this story?

KM: Growing up in Japan as a girl was a confusing experience for me. Not being or acting cute was taken as a sign of defiance. I left Japan at age 26, and began to understand things didn’t have to be that way for me — so I decided not to return.

A few years ago, when I became aware of the phenomenon called “idols” during my visits back home, it felt like it had something to do with what made me uncomfortable about being a woman in Japan. I was moved to explore this.

W&H: What do you want people to think about when they are leaving the theater?

KM: I’d like for the audience to have a better understanding of the “idols” sensation. The audience might find this world alien at the beginning of the film, but I hope they will become more familiar by the end of it.

All the elements in the film — objectification, justification, nostalgia, internalization, disproportionate ageism against women, emasculated men with macho ideas, and so on — are happening around all of us. They are just magnified and taken to the extreme in Japan, but there are definitely parallels everywhere.

Recently, I was deeply disappointed to see the male “locker room mentality” gain a renewed validation. And yet it ignited something in me. I want “Tokyo Idols” to serve as a mirror — an uncomfortable mirror to look at. And if it becomes part of the ongoing discussion and fight, that would make me incredibly happy.

W&H: What was the biggest challenge in making the film?

KM: The biggest challenge in making “Tokyo Idols” was to find the balance between the inside and outside perspectives. I wanted to take a critical look without judging or dismissing this culture. It was surprising how quickly my initial sense of creepiness went away.

After a few concerts, a sense of normalcy kicked in. Idol scenes are not seedy, and we never saw a disruptive drunken person, even though the venues often sold alcohol. It is actually very orderly, and there is an unwritten rule of conduct and respect for the performers and the fans.

Traveling between Japan, the UK, and Canada could have been a challenge because of logistics, but it proved to be very helpful. The physical distance helped to restore my psychological distance and to keep reminding me how uncomfortable I originally felt, while constantly forcing me to question how much I can accept while retaining a critical perspective. This balancing act was perhaps the trickiest part.

W&H: How did you get your film funded? Share some insights into how you got the film made.

KM: Funding for “Tokyo Idols” came from TV licensing and public funding. I pitched the project at IDFA Forum with BBC which triggered a number of partnerships including WDR, Arte, IKON, SVT, NRK and DR.

W&H: What does it mean for you to have your film play at Sundance?

KM: Having “Tokyo Idols” premiere at Sundance means everything. Launching this film and obtaining the audience, exposure, and industry attention is truly a gift for an independent filmmaker like myself. Because of the reputation of this festival, my film will now a great platform for others to see it.

W&H: What’s the best and worst advice you’ve received?

KM: The best advice I’ve received happened when a broadcaster commissioned two of my projects at the same time. I was overwhelmed and not confident I could work on more than one project at a time. I didn’t want to disappoint them.

I asked one of my mentors whether I should decline one of them. He said, “No, take both: It just means you won’t sleep this year. Don’t be a monomaniac.” I managed to complete both projects, and the second film won a Peabody Award. Who knew?

The worst advice comes when people say “kill your darlings.” People use this phrase too often and it’s not helpful. It often forces directors to compromise and possibly change what they wouldn’t normally change. I would never say that to other filmmakers. I feel that as an artist, you should continue to explore everything and be personally comfortable with your decisions. Trust your gut.

W&H: What advice do you have for other female directors?

KM: If you are a female filmmaker — and especially if you are a female filmmaker of color — we are often hounded by naysayers, doubters, and those who ignore or reject us for how we look.

My advice to all female filmmakers is: don’t focus on trying to prove those negative people wrong. Forget those people. Make the best film that you can make and always put your talent first as a storyteller. The naysayers will ultimately be proven wrong by your work. Or they may not. Just don’t pay attention to them. Surround yourself with a community of supporters who will continue to lift you and your films up.

Sometimes, even when we succeed, there is a person forever trying to put us down. I have heard comments like, “Oh. she was given preferential treatment because she’s a woman”; “She was successful because she’s a minority”; or “She flirted with old men and got successful.”

Don’t pay attention to those comments. It is not your problem that these folks lack imagination. Instead focus on finding those who believe in you for who you are, for your story, and your ability to tell that story. Sometimes, all you need is a one yes.

W&H: Name your favorite woman-directed film and why.

KM: I saw “Cameraperson” from Kirsten Johnson at DOC NYC and I was so impressed. The film has grown bigger in me in the few weeks since I watched it. I was moved by the quiet determination to keep following and observing the characters. I was also extremely taken by her constant examination of her role in the story.

You don’t see her much on screen, but you feel her presence and the warmth behind the camera. You also feel her will to protect her characters without being overbearing or patronizing. It’s a great film.

W&H: Have you seen opportunities for women filmmakers increase over the last year due to the increased attention paid to the issue? If someone asked you what you thought needed to be done to get women more opportunities to direct, what would be your answer?

KM: That’s a great question. The time for us as women filmmakers is now. We need to make sure that 50% of funding goes to women filmmakers. We need to put pressure on companies that don’t employ women filmmakers, and get them to change that.

We need to support those entities that do support our artists and films. We can at the same time be more vocal every time we see a bad decision or bad film made due to lack of diversity at senior level decision making. We need to continue to keep our voices heard.