In an age dominated by action blockbusters and anime franchises, a three-hour film about the refined and intricate world of Kabuki theatre has defied expectations in Japan. Kokuho — which means “national treasure” — is now one of the country’s biggest box office sensations.
The film has already earned more than 10 billion yen ($68 million), making it the second-highest-grossing Japanese live-action film of all time and the first to achieve such success in over two decades.
Starring popular actors Ryo Yoshizawa and Ryusei Yokohama, Kokuho explores the lives of two Kabuki “onnagata” — male actors who specialise in female roles, from elegant princesses to tragic heroines. Both actors underwent months of rigorous training under a Kabuki master to portray their characters convincingly. Their performances have captivated audiences, with many praising the authenticity and artistry on screen.
Japan has submitted Kokuho for the Best International Feature category at the Academy Awards. It also received a warm reception at the Cannes Film Festival, adding to its prestige. Since its release, the film has been viewed 7.4 million times in Japanese cinemas within 73 days, with many fans returning for multiple screenings.
The story weaves together themes of rivalry, identity and sacrifice against the dreamlike backdrop of the Kabuki stage. At its core, the film explores family dynamics and the relentless pursuit of perfection in an art form that dates back to the 17th century. There are nods to old-school yakuza films and even subtle references to Western gangster classics like The Godfather — fitting, as one character is the son of a gangster.
Kabuki, with its stylised dance, elaborate costumes and musical storytelling, is often seen as an art form reserved for older generations. Younger Japanese audiences typically prefer modern pop culture or global entertainment trends, from streaming series to boys’ bands. Yet Kokuho has struck a deep chord, reflecting a growing national introspection about cultural heritage and identity.
“The Kabuki world seems very special, but a Kabuki kind of mentality exists in many places in Japan,” noted tourism scholar Yosuke Kon. “Many people can relate to the film.”
The movie showcases Kabuki’s mesmerising details — from the delicate ritual of applying makeup to the flutter of paper snowflakes on stage. It revisits iconic performances such as Musume Dojoji, where a woman’s jealousy transforms her into a serpent, and Sagi Musume, a poetic dance where a heron takes human form — often compared to a Kabuki version of Swan Lake.
For audiences, the film has been an emotional revelation. “It’s about living so true to yourself you are putting your life on the line,” said singer Sara Akino. Others praised its striking cinematography and nuanced portrayal of Kabuki actors’ strict, aesthetic-driven lives.
Based on a bestselling two-volume novel by Shuichi Yoshida, who worked backstage in Kabuki theatres for research, the film is directed by Sang-il Lee, acclaimed for works such as Hula Girls and the Japanese adaptation of Unforgiven. Cinematographer Sofian El Fani, known for Blue Is the Warmest Colour, brings a fresh visual language, using intimate close-ups to reveal the inner turmoil of the characters.
Reflecting on its success, Lee said watching audiences deeply engaged felt like a dream: “Barriers of generations were gone. Films are so wonderful. They are worth the fight.”
With its rich visuals, layered storytelling and cultural resonance, Kokuho proves that even in a fast-paced digital era, traditional art can still command the spotlight.
For more updates, join/follow our WhatsApp, Telegram and YouTube channels.