Kokuhō has become the highest-grossing Japanese live action film of all time — and it is not hard to see why. Directed by Sang-il Lee and based on the novel by Shuichi Yoshida, the film delivers on every front with striking visuals, spectacular acting, and a gripping plot. It tells the 50-year-long story of Kikuo Tachibana, who, orphaned by the assassination of his yakuza father, moved to Osaka to apprentice under the renowned kabuki actor Hanai Hanjiro. Kabuki is a centuries-old Japanese performing art that features eccentric makeup and acting (The root word “kabuku” means to act eccentrically in Japanese). The shogun, in fear of society becoming decadent, banned actresses from kabuki, prompting male performers to master classic female roles called onnagata . At its core, the film is a love-letter to kabuki and the immense sacrifice needed to become a living national treasure — a preserver of a crucial cultural art.
Kokuhō was first shown during the Cannes Directors’ Fortnight on 18 May 2025, and released for public viewing in Japan in June, with a wider global release later that year. In April 2026, I watched Kokuhō at a theater in my hometown of Jakarta, Indonesia. I had hoped to watch it long before that, but hesitated in Tokyo as I could not find a showing with English subtitles. With my limited Japanese, I knew I would not be able to follow the story.
Luckily, by the time I returned to Jakarta for spring break, Kokuhō had begun screening with both Indonesian and English subtitles. Although the theater was packed, as soon as the lights dimmed, I found myself completely absorbed into the unfamiliar yet mesmerising world of kabuki. Even for international audiences with no prior exposure to kabuki, the jaw-dropping cinematography, close-ups on the theatrical onnagata makeup, and traditional music are sure to draw them in.
Beyond its artistry, Kokuhō reveals the labor and interpersonal struggles hidden behind the curtain. During his apprenticeship, the main character Kikuo is paired with Shunsuke, a fellow onnagata and the son of kabuki actor Hanjiro. Their relationship underlines the theme central of the film: blood versus talent. Despite being born into a prestigious kabuki lineage, Shunsuke lacks discipline, indulging in drinking and flirting with female patrons. In contrast, Kikuo’s natural talent and tenacity mark him as exceptional, yet his lack of lineage in a kabuki family leads to his alienation. Kikuo’s desperation for recognition comes at a cost, ultimately sacrificing his closest relationships. His arduous journey underscores both the rigor of artistic mastery and the emotional toll it demands.
The film’s storytelling and mise-en-scène are equally deserving of praise, with kabuki performances used to mirror the characters’ internal conflicts. Kikuo and Shunsuke perform “Two Women at Dojoji Temple”, where two women fall in love with the same man and, consumed by jealousy, transform into snakes. This foreshadows the growing tension between the two apprentices, as their shared dream gives gradually way to rivalry and the collapse of their brotherhood. Another recurring symbol is the snow-like landscape that Kikuo searches for — an echo of the film’s opening, a haunting yet beautiful shot of his father’s blood staining the white snow. The symbol is left open to interpretation, but it can be read as Kikuo’s attempt to reconcile with his origins, even as he pursues a dream that rejects his ‘disgraceful’ past. Snow also reflects the kabuki world — it takes on an ironic quality, as despite kabuki’s beautiful and pure appearance, it is tainted by discrimination and hidden politics.
A common criticism of the film is its length, an ambitious three hours, which some feel causes the narrative to drag. On my first watch, the length of the movie did wear on me, especially the end, where the pacing felt less cinematic and more redundant. However, upon rewatching Kokuhō and carefully analyzing it, the film’s emotional and artistic impact left me captivated until the very end. I even stayed through the credits, following Japanese customs, which is to remain until the very end of the movie credits out of respect.
For those abroad who do not wait the extra 20 minutes, Kokuhō also has broader international appeal. Kikuo’s position as an outsider entering the closed world of kabuki is a perspective that Director Sang-il Lee connects to his own experience. As a third-generation Zainichi Korean (Koreans in Japan), he states that his identity “allowed [him] to relate to this aspect quite naturally.” The term ‘Zainichi’ Korean means literally ‘to reside in Japan’ — reflecting the expectation that ethnic Koreans were staying in Japan temporarily post-World War II. Koreans living in Japan were stripped of their right to vote, consigned to alien status, and excluded from rights granted to non-nationals. In the 1970s, social and intellectual movements began to push for a Zainichi identity. By the early-1980s, Koreans in Japan regained their permanent residency rights and discrimination had decreased significantly.
Director Sang-il Lee brings a distinct perspective to Japanese society, with his films often exploring themes of otherness and social alienation. His debut film, Chong (2000), centers on life within a Korean school in Japan. In Rage (2016), Lee features the struggles of delinquent people, such as a brothel worker and a gay person, and how prejudice and personal insecurities erode their relationships. These recurring themes overlap with Kokuhō, where Kikuo’s ambitious artistic mirrors his struggle for identity and belonging within a system that resists him. Across his work, Lee examines the obstacles faced by outsiders seeking acceptance in exclusionary environments.
Kikuo, although an outsider, is universally understood. Everyone, at some point, has known what it means to feel like an outcast. Especially for international students navigating Japanese society, for those living between cultures in diaspora, or those feeling distanced by their communities, Kokuhō is a compelling watch. Kokuhō speaks to the fear of never truly belonging, but that there exists a place, although hard won, where one can endure and thrive.【絆】
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【UTokyo CINEMA】 Kokuhō — Japanese Tradition Through a Foreign Lens 2026 IUSTITIA.BG – Investigations 2009-2025 2026-06-06 02:00:26
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