by Is polarization becoming clearer in the booming anime film industry?
However, even among films that struggled at the box office, some made a strong presence. The original animated film “Housenka,” written by director Kinoshita Mugi (Odd Taxi) and screenwriter Konomoto Kazuya, tackled a bold subject for a commercial anime: a life-sentence prisoner conversing with a speaking balsam in his cell. Despite limited screenings, it continued to receive positive reviews on review sites and was selected for the competition section of the Annecy International Animated Film Festival.
The musical anime “Torikare Otoko,” based on a novel by Ishii Shinji, also had a modest initial reaction, but word of mouth gradually spread, leading to sold-out theaters. Director Takahashi Wataru’s meticulous direction was well-received, and the film has been described on social media as a hidden must-see. These trends suggest that films that reach their target audiences effectively, regardless of their release scale, can enjoy long-lasting support. Another example is “The Rose of Versailles,” whose box office revenue of ¥500 million seems modest. However, longtime fans in their 40s and older who have supported the original work steadily attended theaters, and those who supported screenings and other initiatives received favorable responses.
This is a prime example of how the depth of a long-established fan base can be flexibly utilized in the theatrical release format. “100 M,” based on Uo Yutaka’s original work, also earned only ¥700 million, but was released in theaters in Taiwan, South Korea, the United States, Canada, Australia, New Zealand, and other countries, gradually gaining international recognition. It was the kind of hit that gradually grew its audience through word of mouth, and the work’s appeal seemed to spread quietly among viewers. Another development symbolizing this year was the expansion of business models. MAPPA, the producers of “Chainsaw Man,” followed the TV series by eschewing the production committee format for this film and instead producing it 100% in-house. While production companies typically subcontract to committees, limiting their profits, this film chose to take on both the risks and rewards in-house. The impact this approach will have on future anime film production is attracting attention from both inside and outside the industry.
The 2025 anime film market demonstrates that the types of hits are more diverse than ever before. From 10-billion-yen blockbusters to mid-sized titles that garner solid support, the ways works reach viewers vary greatly.
Meanwhile, there are also increasing cases where audience numbers cannot be explained solely by the quality of the work. How do we connect with fans daily? How do we design channels that naturally generate buzz on social media? Now that the number of TV commercials alone is no longer enough to attract audiences, we’re entering a stage where the extent to which a work can form a community itself is becoming more critical.
The anime film industry continues to boom. However, the difference between works that ride this wave and those that don’t may become increasingly clearer depending on how well they’re delivered.
