Japan’s Top-Grossing Live Action Is A Three Hour Period Piece On Kabuki

For years the Japanese domestic film market has been dominated by anime movies, and for good reason. However, a new contender has recently emerged from the unlikeliest of backgrounds; Kokuho — not a thrilling spy caper or a fluffy romance as one would expect, but a three-hour period drama about classical theater form kabuki.

Kokuho, directed by Lee Sang-il and distributed by Toho, earned 17.37 billion yen ($111 million) as of November 25, according to the distributor. This surpasses the 17.35 billion yen record held by Bayside Shakedown 2 since 2003. The film drew 12.31 million admissions after 172 days in theaters following its June 6 release.

Based on Shuichi Yoshida’s novel of the same name, the film runs two hours and 55 minutes and follows the rivalry between two kabuki actors over five decades. Ryo Yoshizawa and Ryusei Yokohama star as onnagata performers (male actors specializing in female roles) with Ken Watanabe in a supporting role.

What the Record Actually Means

The record applies specifically to domestic Japanese live-action films. Kokuho ranks 11th overall in Japan’s box office history across all categories. Demon Slayer: Mugen Train holds the overall domestic record at 40.75 billion yen, more than double Kokuho‘s gross. Foreign live-action films including Titanic and Harry Potter and the Philosopher’s Stone also exceed its earnings.

The 22-year gap since the previous live-action record reflects Japan’s animated film dominance. Of the country’s top ten highest-grossing films domestically, seven are animated. Japan’s film market ranks third globally, but live-action Japanese productions rarely approach the figures that anime features routinely achieve.

The Oscars Question

Japan selected Kokuho as its official submission for Best International Feature at the 98th Academy Awards. The film premiered in the Directors’ Fortnight section at Cannes Film Festival in May before its domestic release, giving it the festival pedigree that often supports Oscar campaigns.

However, the international feature category is competitive. This year’s contenders include Cannes Palme d’Or winner It Was Just an Accident and Grand Prix winner Sentimental Value, among others. GKIDS acquired North American distribution rights and held qualifying runs in Los Angeles and New York in November, with a planned wider theatrical release in early 2026.

Japan has seen recent Oscar success: Godzilla Minus One won Best Visual Effects in 2024, and Hayao Miyazaki’s The Boy and the Heron won Best Animated Feature the same year. Whether Kokuho can secure a nomination remains uncertain, though its domestic performance and Cannes screening provide visibility.

Beyond the Box Office

The film’s success has had measurable effects on kabuki theater attendance. Kabukiza Theatre in Tokyo reported approximately 10,000 first-time visitors between July and October, representing a nearly 30 percent increase in new audiences compared to the previous year, according to venue organizers. Yoshida’s source novel has sold 2 million copies, according to the publisher.

The production required extensive preparation, with lead actor training in kabuki performance taking approximately 18 months. The film depicts both backstage preparation and onstage performance, requiring authenticity in movement, voice, and traditional theater protocols.

Why This Matters for Japanese Cinema

The film’s commercial trajectory differs from typical blockbuster patterns. Rather than front-loaded opening weekend earnings, Kokuho accumulated revenue over nearly six months, suggesting sustained audience interest. This pattern aligns with prestige films that build momentum through critical reception rather than marketing saturation.

The film’s subject matter—kabuki theater with its centuries-old traditions—and its runtime exceeding typical commercial length typically limit box office potential. That it found an audience of over 12 million admissions (per the Hollywood Reporter) indicates appetite for culturally specific storytelling, even if it doesn’t challenge anime’s market dominance.

Director Lee Sang-il previously directed Hula Girls (2006) and Villain (2010), the latter also based on a Yoshida novel. Aniplex, which is backed by Sony, and Myriagon Studio produced Kokuho. The film screened at the Toronto International Film Festival in September alongside its Cannes premiere.