Dani Swan Action Thriller ‘Iris’ Set To Film In Spain & Japan; Toei To Assist Japanese Portion Of Shoot
EXCLUSIVE: U.S. indie Rising Swan Entertainment is gearing up to shoot female-led action thriller Iris, created by and starring Dani Swan (The Matrix Resurrections), in Spain and Japan, with Japan’s …
EXCLUSIVE: U.S. indie Rising Swan Entertainment is gearing up to shoot female-led action thriller Iris, created by and starring Dani Swan (The Matrix
Read Full Story at Deadline Hollywood →Why This Matters
The production marks a pivotal moment for female-driven action cinema, signaling a strategic pivot toward international co-productions that blend Western indie ethos with Japanese genre expertise. By anchoring the shoot in Spain—Europe’s rising hub for high-octane filming—and Japan, a country with unmatched technical infrastructure for action sequences, the project could redefine how global action thrillers are financed and executed.
Background Context
Japan’s Toei Company, a titan in kaiju and yakuza cinema since the 1950s, has steadily expanded its role as a logistics partner for foreign productions, leveraging its studio backlots and stunt coordination legacy. Meanwhile, Spain’s film commission has aggressively courted international shoots in recent years, capitalizing on tax incentives and a workforce skilled in both digital and practical effects, a legacy of *The Impossible* and *Alien* sequels filmed there.
What Happens Next
If *Iris* delivers on its promise—a female-led action thriller with transnational appeal—Swan’s project could become a blueprint for how U.S. indies bypass Hollywood’s risk-averse financing by tapping into foreign markets. Watch for announcements on local casting in Japan, which may include stunt performers from Toei’s famed *JAC* (Japan Action Enterprise) team, or nods to classic Japanese action aesthetics in the fight choreography.
Bigger Picture
This production reflects a broader fragmentation of Hollywood’s dominance, where indie filmmakers are increasingly cherry-picking locations for their hybrid logistical and creative advantages. It also underscores Japan’s evolving role as a service provider for global cinema, moving beyond its cultural exports to become an essential partner in the mechanics of movie-making itself.
