Super Kaguya Hime surpasses 3.3 billion yen at the box office after its return to theaters

What was meant to be a token screening has become one of the rarest phenomena in recent anime. Super Kaguya Hime surpassed 3.3 billion yen in cumulative box office revenue in early October, according to MANTANWEB. The figure comes after the film returned to theaters on September 18, months after its official farewell.

The audience numbers are also huge: 1.68 million viewers since its theatrical release. And all this for a film that was born as a Netflix exclusive and was, in theory, only supposed to screen for one week in 19 cinemas.

The story of this film is a case study. It premiered on the platform on January 22, 2026. Its theatrical run began on February 20 with a modest plan: one week, 19 screens. But word of mouth worked so well that by mid-March it was already in more than 100 cinemas.

On June 18 came the official closing with 1.34 million tickets sold and 2.7 billion yen. It seemed like everything was over. It wasn't.

A second life in 4DX and Dolby Atmos

Since September 18, the film returned with special screenings in 4DX, MX4D, SCREENX, and Dolby Atmos. It's not a simple re-release: it's a different experience, with moving seats, sensory effects, and more immersive sound. That decision gave those who had already seen it a new reason to come back.

The result was felt quickly. Five days after the return, it had already added 3 billion yen and 1.5 million viewers. By October, the figure reached 3.3 billion. It even entered sixth place in the weekend attendance ranking, competing with new releases.

The fever for the film isn't limited to the box office. On X, the hashtag #超かぐや姫 remains active every day with fan art and four-panel comics. On October 10, a single post with a yonkoma surpassed 4,000 likes. The community hasn't let go of these characters.

What it's about and who's behind it

The story follows Sakayori Iroha, a high school student living alone in Tokyo. Her life changes when a baby appears from a pillar of light, grows at lightning speed, and introduces herself as Kaguya, a girl who claims to come from the Moon. Together they become virtual livers and enter a tournament to get on the stage of their favorite idol.

It's a mix between today's streaming culture and the Taketori Monogatari, Japan's oldest story. That crossover gives it broad appeal: it connects with those who grew up watching virtual idols and with those who know the classic tale.

The direction is by Yamashita Seigo, known for his work on the openings of Jujutsu Kaisen, Chainsaw Man, and Urusei Yatsura. This is his first film as director. The music is by Cornish, with arrangements by ryo (supercell), and the film features remixes of World is Mine and Melt, two Vocaloid classics.

That a director forged in openings has achieved this reach in his debut is a fact that could change how studios and platforms put together their next projects. It's no longer about choosing between streaming and theaters: it's about how to make a single title live in both formats, in stages.

Super Kaguya Hime went from Netflix to a week in theaters, from there to an expanded run, then to its closing, and finally to a resurrection in premium formats. Each stage opened the door to a new audience. The question now is whether there will be a third life or if this journey marks the start of a trend we'll see repeated.