In the film “Kokuho,” a three-hour epic spanning half a century in the lifetime of a fictional kabuki actor, we see the conventional artwork type slowly retreat from Japanese widespread tradition. What was as soon as a nationwide curiosity — albeit, a comparatively center class one — recedes into a distinct segment, carried out by an getting older cohort artistically frozen in time.
In artwork, so in life. Kabuki is struggling in Japan. The 400-year-old UNESCO-inscribed classical theater is battling to draw an viewers. Data shared by the Japan Arts Council reveals attendance at National Theatre venues has dropped considerably, and has not returned to pre-pandemic ranges.
Kabuki is additionally failing to draw apprentices, the de facto route for pursuing a profession in the artwork. Historically, appearing dynasties have produced a wholesome secure of performers, however in current a long time the state has picked up the slack. Courses at the National Theatre Training School have skilled a third of kabuki performers working today, however the faculty acquired simply two candidates for its newest two-year appearing course.
Enter “Kokuho.”
Based on Shuichi Yoshida’s bestselling novel of the identical title, the film, directed by Lee Sang-il (“Pachinko”) and starring Ryo Yoshizawa, has captivated audiences after debuting at the Cannes Film Festival in May. In Japan, the film has been in theaters for six months and grossed $111 million, turning into the highest grossing Japanese reside motion film of all time and contributing to what is already the nation’s finest yr at the field workplace since 2019.
Internationally, the film is gathering steam as Japan’s submission for Best International Feature Film at the Academy Awards, and just lately acquired an awards qualifying run in US cinemas, earlier than opening in early 2026 (it is being distributed by GKIDS, which powered Studio Ghibli’s “The Boy and the Heron” to Oscar success in 2024).
The film has been the discuss of the city amongst Tokyo’s kabuki performers, in keeping with native reviews. But greater than that, it could be drawing individuals to the performing artwork.
“While there is no clear data definitively showing the film’s influence, it does feel like interest in kabuki is growing, particularly among younger audiences,” stated a spokesperson for the Japan Arts Council.
When kabuki performer Nakamura Ganjiro IV (who seems in the film and in addition instructed different actors on their efficiency) made an look at the National Theatre alongside director Lee in September, 2,200 individuals utilized for 100 seats, stated the Arts Council.
Looking to grab the second, the Arts Council has distributed flyers for its January 2026 program exterior cinemas exhibiting the film, launched a tie-in social media marketing campaign, and placed on introductory performances of kabuki masterpieces with extra inexpensive seating to encourage newcomers.
Lee stated through a translator he was “very surprised” by the “phenomenon” of his film, and what it has carried out for kabuki in Japan.
“I think part of the reason for this is that there is a general demand for beautiful things,” he stated. “Not only that, but seeing people like (Yoshizawa) going beyond their limits to achieve something brings a lot of joy. The beauty of that, I think, is something that is mutual to both films and kabuki.”
“Kokuho” interprets as “national treasure,” a reference to “ningen kokuhō,” or “living national treasure,” a title designated to masters of their artwork.
The film opens in the Sixties and follows the orphaned son of a yakuza boss, Kikuo, on his journey into the higher echelons of kabuki. At age 15, he’s outdated for an apprentice (even at this time, the Japan Arts Council imposes an age restrict of 23) although he has the tutelage of Ken Watanabe’s seasoned professional Hanjiro, and the competitors of Hanjiro’s son Shunsuke (Ryusei Yokohama) spurring him on.
Kikuo performs as an “onnagata”— a male actor specializing in feminine roles — a customized that started in the 17th century. That comes with its personal dictates, together with posture, stroll and dance strikes.
Yoshizawa, finest recognized for his twin position in the “Kingdom” film collection, ready for a yr and a half to play the grownup Kikuo. “There was about three to four months just doing “suriashi” (sliding toes), which is the strolling a part of kabuki, studying methods to transfer my physique, methods to use the muscle tissue in my legs,” he stated. “Then the dancing training began.”
“The more I did the dancing, the more I saw how difficult it was going to be to reach the level of actual kabuki actors,” he added.
“Realizing that I wasn’t going to become an actual kabuki actor in this short amount of time — and persevering through that — was kind of what was needed, mentally, looking back on it.”
In the film, Kikuo’s clean ascent from outsider to stardom is tempered by his affairs and the jealousy he conjures up in others. But these factors of friction not often eclipse the heightened drama on stage.
The screenplay attracts on kabuki’s established repertoire, that includes tales of affection rivalries, transfiguration and suicide, typically deployed to parallel character narratives and replicate their inside state. “Kokuho” offers useful on-screen synopses for the uninitiated — even in Japan it’s “pretty rare” {that a} member of the public will likely be well-verse in kabuki, stated Lee.
The director and solid needed to negotiate the pitfalls of taking pictures stage appearing for display; crafting performances made to be seen by the low cost seats in a again of a kabuki theater, captured by the close-up camerawork of cinematographer Sofian El Fani (“Blue Is the Warmest Colour”).
“I was told by Director Lee that this wasn’t about doing a beautiful dance on stage, but really showing who Kikuo is as he’s performing,” stated Yoshizawa. “Focusing on things like a trembling finger in a certain moment to show his mental situation, to really concentrate his whole life and show that on stage … that was more important.”
“I wanted (the movie) to feel kind of like an opera or an epic Shakespeare play,” stated the director. One approach to try this was to increase the visible language of theater past the stage, he defined: “For example, in the Yakuza scene in the beginning where there’s a fight, I made sure the blocking of that scene felt a bit more stage-like, so that these real-life moments and stage moments would blend together.”
The epic concludes in 2014, with Yoshizawa aged up and Kikuo compelled to confront the harm and harm he has brought about on his path to greatness.
For the actor, it was not the traditional case of enjoying outdated. “There’s a difference between a person who plays the onnagata in kabuki growing old, versus a regular man growing old,” he defined. “I noticed in the reference material they would stay young and beautiful … (in) interviews that I’d seen they keep their great posture.”
There’s loads of real-world examples of kabuki elder statesmen nonetheless treading the boards. Earlier this yr, “living national treasure” and former onnagata actor Onoe Kikugoro VII carried out and took half in a high-profile name-changing ceremony involving his son and grandson, securing the way forward for a well-known kabuki dynasty.
Ensuring the longevity of kabuki will depend on a wider array of individuals.
The Japan Arts Council stated that even earlier than “Kokuho,” it had launched courses for learners, and oldsters and youngsters, a scholar outreach program, ticket reductions for under-30s, and English-language earphone guides to performances, to spice up engagement with the theater amongst home and worldwide audiences.
As for new performers, a spokesperson for the National Theatre Training School stated it was nonetheless mulling how finest to leverage the new consideration kabuki is receiving — although they confirmed a lot of its latest candidates had, naturally, watched the film.
This article accommodates reporting from Mai Takiguchi and Junko Ogura in Tokyo.
This story has been up to date to make clear particulars of the film’s US opening.