A nearly three-hour film about Kabuki was never supposed to be a box office juggernaut, but “Kokuho” has defied expectations to become Japan’s top live-action hit — and an Oscars international feature shortlister.
Directed by Lee Sang-il and starring Ken Watanabe, the drama centers on Kabuki, a traditional art form long viewed as commercially challenging, yet has struck a deep chord with Japanese audiences while also gaining traction overseas.
Set initially in 1964 Nagasaki, the film follows 14-year-old Kikuo (Ryō Yoshizawa) who, after his yakuza father’s death, finds himself taken under the wing of a famous Kabuki actor Hanjiro (Watanabe). Alongside the actor’s son Shunsuke (Ryusei Yokohama), Kikuo dedicates himself to the centuries-old theatrical tradition, with their relationship evolving through decades of performances – from acting school to prestigious stages – against a backdrop of scandals and glory, brotherhood and betrayals.
Lee says the recognition carries weight well beyond awards momentum. “This is a film that deals with traditional Japanese performing arts — Kabuki — and it’s also a work that has received enormous support from Japanese audiences,” he says. “For a film like this to reach the Oscars shortlist is something that feels deeply meaningful, not only for Japanese cinema but for Japanese audiences as well.”
Watanabe expresses surprise at how widely the film has connected. “This is not a samurai film, and it’s not a geisha film,” he says. “Kabuki itself can be difficult even for Japanese people to fully understand. So the fact that a film centered on Kabuki has been accepted as Japanese culture by audiences around the world is something that genuinely surprised me, and it’s a great joy.”
Neither Lee nor Watanabe anticipated the scale of the film’s local success. Kabuki, Lee notes, is no longer a mass-attendance art form in Japan. “We couldn’t have predicted this response,” he says. “But somewhere within Japanese audiences there is a latent understanding that this is an important cultural tradition. The film managed to connect with that.”
Crucially, Lee stresses that the appeal goes beyond Kabuki itself. “It’s not only a story about kabuki,” he says. “It’s about people who devote their entire lives to an art form. That kind of life – pursuing something at great personal cost – is something audiences can connect with.”
Watanabe echoes that sentiment, describing the film as a story of artistic commitment. “It’s about artists giving everything to their art,” he says. “Life can be harsh, but within that harshness there is beauty. I think people who feel uncertainty or anxiety about the future can recognize something in characters who commit themselves fully to one thing.”
Lee also points to the film’s visual approach as central to its reach, citing the cinematography, staging and production design. “We pursued beauty in every element – the cinematography, the art department, the makeup,” he says. “But also the way of life itself – sacrificing everything to aim higher and higher – is both cruel and beautiful. That idea seems to have resonated with younger audiences and with viewers overseas.”
Summing up the film’s ethos, Lee adds, “This film is about pursuing beauty.”
The film’s success comes amid a broader global moment for Japanese culture, from anime and manga to renewed interest in live-action cinema. Watanabe notes that one longstanding barrier has eased. “Language used to be a major hurdle for live-action film,” he says. “Since COVID, audiences have become much more comfortable watching subtitled films, which has made it easier for us to share our work.”
Lee adds that “Kokuho” was never conceived as a calculated bid for international recognition. “We didn’t make this film by targeting overseas audiences,” he says. “We looked at our own society and history – Kabuki, the onnagata [female impersonation] tradition, family relationships, the life of an artist. These are uniquely Japanese elements, but they exist alongside very universal themes. When those come together, there’s a possibility for the film to travel.”
Looking back, Lee recalls that the project began under heavy skepticism. “From the planning stage, this wasn’t a film carrying big expectations,” he says. “It was Kabuki, it was nearly three hours long, the budget was high – and even Ken was telling me, ‘You should stop.’”
“But after its release,” Lee adds, “it’s continued to push back against every one of those obstacles.”
He likens the film’s trajectory to a living thing. “If the film were a child,” Lee says, “it would be one with an incredibly strong soul, growing step by step. How far this film – carrying the destiny of its title – can go is something we’re all watching with a sense of anticipation.”
The Oscar nominations will be revealed Jan. 22.