In the world of "Kokuho," the stomp of a foot can summon art into being. The blend of allegory and reality in the symbol-laden feature film continues to surprise months after its release, making it an unlikely new weapon in Sony Group Corp.’s Japanese content arsenal.

Director Lee Sang-Il’s three-hour epic is now Japan’s top-grossing live-action movie of all time, smashing a 22-year-old record, according to domestic distributor Toho Co. An adaptation of a two-volume novel by Shuichi Yoshida, the film has now been shortlisted for the 2026 Academy Awards’ international feature film category, as well as for makeup and hairstyling. The nominations are slated to be announced on Jan. 22, with "Kokuho" headed for a wider North American rollout in February.

Spanning 50 years, "Kokuho," or “National Treasure,” follows 14-year-old Kikuo Tachibana — the son of a slain yakuza boss taken in by a kabuki master — and his deep friendship and bitter rivalry with his mentor’s only heir. Its runaway success is a coup for Aniplex Inc., a unit of Sony Music Entertainment Japan Inc., which has also powered recent anime blockbusters such as "Demon Slayer: Kimetsu no Yaiba." Aniplex’s backing was critical to get the project off the ground, given its focus on a centuries-old art form characterized by archaic language and stylized delivery.

“The solitude that comes with mastering an art is universal,” said Senior Vice President Chieko Murata, who oversaw the planning and production of "Kokuho." “It speaks to audiences around the world.”

Steeped in themes of lineage and betrayal, its portrayal of the terrible sacrifices artists choose to make has prompted repeat viewings in Japan. The film is even credited with boosting attendance at live kabuki theaters, far surpassing its producers’ expectations.

“People think of kabuki as inaccessible and difficult," said Murata, who is also a corporate executive at Aniplex’s live-action arm Myriagon Studio Inc., which co-produced the film. That concern caused internal debate about how much emphasis to place on kabuki when promoting the movie, she said.

The film battled low expectations not just because of its subject matter. Japanese live-action films have traditionally played only a tiny role in Sony’s global empire of entertainment. Video games, music and film are central to the company, now earnings roughly 70% of its annual operating profit, but cinemas have primarily been graced by Hollywood productions or anime from closer to home.

Murata said she drew inspiration from her love of Indian cinema, where music and dance transcend language barriers and transport viewers. Director Lee, who also directed Hula Girls, shares that belief in movement as a powerful conduit of emotional expression. Lead actor Ryo Yoshizawa spent 18 months training with kabuki performers, while the crew worked to film kabuki performances in as few cuts as possible.

“I wanted to create a beautiful story, a beautiful image, a beautiful film," Lee, who is ethnically Korean, said in an interview with South Korea’s SBS. “Beauty is not only what is visible but also found in the way kabuki actors live and in how they stake their entire lives on their art.”

Sony’s music segment, to which Aniplex belongs, reported a nearly 30% rise in September quarter profit, helping the PlayStation maker lift its annual forecast. Sony Chief Financial Officer Lin Tao has cited "Kokuho" as an example alongside the Demon Slayer series of the Japanese company’s ability to unearth promising intellectual property and match it with world-class creators.

Murata — whose love of cinema began when she saw the film adaptation of Annie as a child in Osaka — honed her skill at bringing together actors, screenwriters, directors, distributors and investors over a career that’s spanned the Sundance Institute, South Korea’s CJ Group and Sony Pictures Entertainment, with projects ranging from big-budget action series Kingdom to the romantic comedy 50 First Kisses.

She credits Sony’s long history of working with artists for the decision to back an unlikely hit like "Kokuho." Officials at parent Sony did have some initial misgivings about Aniplex handling a live-action project, but decided to trust the judgment of those on the ground, Chief Executive Officer Hiroki Totoki said in an interview with the Nikkei. That "Kokuho" emerged with funding from a unit that focuses on anime under the company’s music arm is “quintessentially Sony,” according to Waseda Business School Professor Atsushi Osanai.

“Our decision-makers are close to the creators. They evaluate ideas based on the creative elements, not the risk,” Murata said of Aniplex’s decision to greenlight the film. “The company understands what it means to make something, and that spending effort and money on talent will ultimately be reflected in quality.”

"Kokuho’s" ascent also comes as a younger generation of Japanese producers and directors increasingly target overseas audiences. More filmmakers now seek to tap international sources of financing and co-producers abroad, according to Toshifumi Makita, deputy secretary general of Tokyo-based nonprofit group VIPO (Visual Industry Promotion Organization). That shift is giving rise to richer and more ambitious projects and helping Japan ride a wave of global attention to Asian cinema following the success of films like South Korea’s Parasite.

“People have been saying for years, ‘Japan used to have Kurosawa, Ozu and Mizoguchi. Why don’t we see films like theirs anymore?’” said Murata, referring to Akira Kurosawa, Yasujiro Ozu and Kenji Mizoguchi, who brought Japanese cinema to global audiences and influenced directors from Steven Spielberg to Ang Lee. “I always wanted to make a movie like that.”

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—With assistance from Sohee Kim and Natsuko Katsuki.

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