TOKYO — A three-hour film set in the esoteric world of Kabuki has become an unexpected box-office phenomenon in Japan, selling out screenings, drawing repeat viewers and grossing more than 10 billion yen (about $68 million).
Kokuho, whose title translates as "national treasure" and is pronounced roughly Koh-koo-hoe, has been seen 7.4 million times in Japanese theaters during its first 73 days on release, according to distributor tallies. The film’s take on family, rivalry and the grueling hardships of life in the Kabuki tradition has propelled it to become the second-highest grossing Japanese live-action film of all time, a milestone not reached by a domestic live-action picture in more than two decades.
The film stars Ryo Yoshizawa and Ryusei Yokohama as longtime rivals and soulmates who are both onnagata — Kabuki actors who specialize in performing female roles. Both performers underwent months of training under a veteran Kabuki actor to prepare for the demanding physicality and stylized movement of the form, producers said.
Kokuho runs roughly three hours and has attracted audiences outside typical arthouse circles, with some cinemas reporting sellouts and a notable number of repeat viewers. The movie also drew international attention after a favorable reception at the Cannes Film Festival, where it was screened earlier this year.
Japan has submitted Kokuho as its entry in the Academy Awards' international feature category. The short list of 15 films from which final nominations will be chosen is due to be announced on Dec. 16.
Critics and audiences have highlighted the film’s meticulous staging of Kabuki performance and its focus on interpersonal dynamics within the theatrical world. Onnagata roles in Kabuki are traditionally performed by men, a historical convention that the film depicts through costume, makeup and the codified gestures central to the art form.
Industry analysts say the film’s commercial success is notable for a project rooted in a classical theatrical tradition, at a time when big-budget franchise films and imported titles often dominate Japanese box offices. Kokuho’s box-office haul places it among a small group of domestic live-action films that have reached the upper echelon of ticket sales.
The film’s makers and cast have credited rigorous preparation and an attempt to balance authentic Kabuki technique with narrative accessibility for modern audiences. The story centers on the competing yet entwined lives of its two principal characters as they navigate personal and professional pressures within a conservative theatrical world.
Kokuho’s momentum will be measured in the coming months by its international festival run, awards-season reception and whether its domestic popularity endures beyond initial repeat viewings. For now, the film stands as a commercial outlier: a lengthy, culturally specific drama that has achieved mass appeal and become a focal point of conversation about contemporary Japanese cinema and the preservation of traditional performing arts.