Mamoru Hosoda's "Scarlet" Earns 3 Annie Award Nominations | Why the Film Flopped in Japan but Earned International Recognition
Annie Award Nominations Announced
On January 5, 2026, the 53rd Annie Award nominations were announced, with director Mamoru Hosoda's latest film "Scarlet" (Hateshinaki Sukāretto) receiving nominations in three categories: Best Feature – Independent, Best Direction – Feature, and Best Writing – Feature. This marks Hosoda's return to Annie Award recognition since his 2019 win for "Mirai" in the Best Animated Independent Feature category.
Director Hosoda expressed his gratitude in an official statement: "I am honored to be nominated in three categories. I sincerely thank everyone who watched and supported this film." The ceremony is scheduled for February 21, 2026.
About the Film: An Ambitious Shakespeare Reimagining
"Scarlet" draws inspiration from Shakespeare's "Hamlet" and Dante's "Divine Comedy." The story follows Princess Scarlet, who awakens in the "Land of the Dead" after failing to avenge her father's murder by her uncle Claudius. In this surreal purgatory, she encounters Hijiri, a pacifist nurse from modern-day Japan, and together they embark on a journey that challenges her quest for vengeance.
The voice cast features Mana Ashida as Scarlet, Masaki Okada as Hijiri, and Koji Yakusho—appearing in his fourth Hosoda production—as the villainous Claudius.
Critical Reception: A Tale of Two Audiences
Japan's Harsh Verdict
The film opened in Japan on November 21, 2025, to disappointing results. In its first four days, "Scarlet" earned approximately 270 million yen (around $1.8 million), roughly one-third of the opening figures for Hosoda's previous film "Belle," which went on to gross 6.6 billion yen (approximately $44 million).
By its second week, "Scarlet" had dropped out of the top 10 at the Japanese box office. Review aggregator Filmarks shows a score of 2.9 out of 5, while Eiga.com rates it at 3.0.
Key Criticisms from Japanese Audiences
Japanese viewers have voiced several concerns about the film.
Script and Narrative Issues: Many found the story difficult to follow, with unexplained plot elements and abrupt developments. The sudden appearance of a modern Japanese character in a medieval Danish setting confused viewers, as did the appearance of a deus ex machina dragon that resolves conflicts throughout the film.
The Controversial Shibuya Dance Scene: Perhaps the most discussed element is a musical sequence where Scarlet and Hijiri suddenly appear dancing in modern-day Shibuya, Tokyo. Critics called this scene jarring and inconsistent with the film's medieval fantasy aesthetic.
Solo Screenwriting Concerns: There's an ongoing debate in Japan about Hosoda's decision to write his scripts alone. His most acclaimed works—"The Girl Who Leapt Through Time" and "Summer Wars"—were written with screenwriter Satoko Okudera. Since "The Boy and the Beast," Hosoda has written solo, and many fans attribute the declining critical reception to this change.
International Recognition
Internationally, the film has received more favorable attention. It premiered at the 82nd Venice International Film Festival in September 2025 and was subsequently selected for the 50th Toronto International Film Festival and the 63rd New York Film Festival.
IndieWire positioned "Scarlet" among Venice's "state of the world" films, praising Hosoda's ambitious vision despite some reservations about the execution. Screen Daily wrote that the film "conjures up evocative worlds and intensely emotional set pieces" with striking visuals and deep emotional undercurrents.
The film holds a 6.4 rating on IMDb, notably higher than its Japanese scores.
Understanding the Evaluation Gap
Different Expectations for Hosoda Films
Japanese audiences have come to expect a certain aesthetic from Hosoda—bright skies, heartwarming family stories, and accessible entertainment. Films like "Summer Wars" and "Wolf Children" established a brand identity that "Scarlet," with its dark revenge narrative and medieval European setting, fundamentally contradicts.
International audiences, particularly in festival circuits, often approach Hosoda's work from a different perspective. Many consider "Mirai" his defining work rather than "Summer Wars," predisposing them to appreciate his more experimental efforts.
Familiarity with Western Literary Tradition
"Scarlet" draws heavily from Shakespeare's "Hamlet," Dante's "Divine Comedy," and works by T.S. Eliot and John Milton. This rich literary foundation resonates more naturally with Western audiences who recognize these references and appreciate how Hosoda subverts classical narratives.
For Japanese general audiences without this literary context, the film's structure and thematic development can seem arbitrary or confusing rather than deliberately allusive.
Social Media Dynamics
The film faced negative buzz on Japanese social media even before release, with the controversial trailer creating a "pile-on" atmosphere. Some observers note that expressing positive opinions about "Scarlet" online invites accusations of contrarianism, creating a hostile environment for balanced discourse.
Different Animation Evaluation Criteria
International animation festivals often prioritize technical innovation and auteur vision. "Scarlet"'s hybrid approach—combining 2D character animation with photorealistic CG backgrounds—represents exactly the kind of boundary-pushing technique that earns recognition in these circles.
Japanese anime fans, however, tend to prioritize narrative engagement and character connection over technical achievement. Revolutionary visuals alone cannot compensate for perceived storytelling weaknesses.
Hosoda's Position in Global Animation
Mamoru Hosoda remains one of the few Japanese animation directors outside Studio Ghibli to achieve significant international recognition. He has been considered a frontrunner for "the next Miyazaki" alongside Makoto Shinkai, though Shinkai has achieved three consecutive 10-billion-yen blockbusters while Hosoda's highest-grossing film remains "Belle" at 6.6 billion yen.
The Annie Award nominations demonstrate that the international animation community still values Hosoda's artistic ambitions. His conscious pivot toward global themes and markets is evident, suggesting he may continue producing work that divides domestic and international audiences.
The Bigger Picture: Art vs. Commerce
"Scarlet" represents a fascinating case study in how identical artistic choices can be interpreted differently across cultures. What Japanese audiences see as narrative incoherence, international critics may view as bold experimentation. What feels like betrayal of an established brand in Japan reads as artistic evolution abroad.
The film tackles weighty themes—the cycle of revenge, the possibility of forgiveness, and how we might break patterns of violence—that resonate with contemporary global anxieties. Whether these ambitions are realized effectively remains a matter of perspective.
Animation history is filled with works initially dismissed that later gained appreciation. Whether "Scarlet" will follow this trajectory remains to be seen, but its Annie Award nominations suggest the international animation community isn't ready to write off Hosoda's vision.
Are there films in your country that were criticized domestically but gained recognition abroad? Have you experienced movies that were evaluated very differently across national boundaries? We'd love to hear your thoughts in the comments.
References
- https://annieawards.org/nominations
- https://news.yahoo.co.jp/articles/825becec1e58d58a8114fb1e04679b104d579c2c
- https://eiga.com/movie/103145/
- https://www.imdb.com/title/tt35114460/
- https://www.indiewire.com/criticism/movies/scarlet-anime-review-mamoru-hosoda-1235149140/
- https://www.screendaily.com/reviews/scarlet-review-japans-mamoru-hosoda-borrows-from-hamlet-for-striking-animated-tale-of-revenge/5211606.article
- https://en.wikipedia.org/wiki/Scarlet_(2025_film)
Reactions in Japan
The visuals were truly stunning. The depiction of the Land of the Dead was breathtaking and worth seeing in IMAX. I just wish the script had been more polished... But I appreciate Director Hosoda's challenging spirit.
Honestly, I couldn't understand the Shibuya dance scene at all. Suddenly modern Japan in a medieval fantasy? My brain crashed. Someone please explain what the director was trying to express.
Congratulations on the 3 Annie Award nominations! I think it's being criticized too harshly in Japan. The universal themes of revenge and forgiveness based on Hamlet naturally resonate internationally.
I saw someone describe it as '112 minutes of prison time, 2000 yen fine,' but I didn't think it was that bad. Though I understand the disappointment if you went expecting something like Summer Wars or The Girl Who Leapt Through Time.
Director Hosoda, please work with a screenwriter again. Your visual sense is brilliant, but the storytelling has become too self-indulgent. Hoping for Satoko Okudera's comeback.
Mana Ashida's performance was wonderful. Scarlet's anger and hesitation came through clearly. Koji Yakusho was great as the villain too. No complaints about the voice cast.
Went on opening day but the theater was empty... Despite NTV broadcasting past works on Friday Roadshow, this result is sad. Beyond the quality of the work itself, wasn't there also a promotion problem?
Praised at overseas film festivals and nominated for Annie Awards. But bombed at the Japanese box office. Same pattern as Mirai. Maybe Director Hosoda has chosen to pursue life as an international auteur.
I hate the atmosphere where bashing the film seems like the correct response. Sure, there are flaws, but the message about breaking the cycle of revenge is something the world needs right now.
Honestly, I almost left midway. Couldn't empathize with Hijiri's character - too naive about conflict. 'Let's stop fighting' - dude, you're about to be killed, what are you even saying?
My impression changed after watching it twice. Was confused the first time, but after learning about Hamlet and Divine Comedy references, many foreshadowings became visible. A film worth analyzing.
Belle was also divisive but earned 6.6 billion yen. This time, even before the content, the trailer spread a 'this isn't it' feeling. The dark worldview didn't match what Hosoda fans wanted.
The sound design was amazing. The thunder scenes felt like you were actually there. In terms of visuals and sound alone, it's at the pinnacle of Japanese animation. If only the story had been better...
As someone who watches a lot of theater, the time-transcending expressions and symbolic direction were completely understandable. It's interesting that anime fans and theater fans have different evaluations.
While Makoto Shinkai has three consecutive 10-billion-yen hits, Hosoda's best is 6.6 billion and this one is projected around 1 billion. The gap between these two who debuted around the same time is painful. He has talent though.
I like Scarlet's character design. The pink-haired medieval princess concept is fresh too. But that alone can't sustain two hours...
Watched at the Venice Film Festival. Hosoda proves he's still an ambitious animated filmmaker. This revenge tale inspired by Shakespeare offers interesting perspectives on kingdoms, faith, and what vengeance is worth. The gorgeous animation designs, colors, and sound design throughout were overwhelming.
The visuals are often spectacular, but they feel hollow when detached from emotion. Hosoda seriously confronts the question of how we got here, but the answer remains ambiguous. Still a film worth seeing.
Watched at TIFF. Reactions have been mixed, with some calling it repetitive, messy, or pretentious. But I thoroughly enjoyed it. The relationship between Scarlet and Hijiri is well portrayed, and the voice acting is captivating.
The 3 Annie Award nominations are well deserved. I was surprised by the low domestic reception in Japan. For Western audiences, viewing it as a Hamlet reinterpretation makes it a very interesting film.
Not quite what I expected. Akira Kurosawa's influence is clearly felt in the choreography, but the story remains at a simplistic level. Still, the final scenes contain some of Hosoda's strongest imagery, making the long journey worthwhile.
Hosoda's work always divides opinion, but this time it's extreme. Same pattern as Mirai - poorly received in Japan but recognized by international animation awards. He seems to have chosen a career as an international auteur.
As a French viewer, the references to Dante's Divine Comedy were very impressive. Understanding it as an allegory depicting 'pain and rebirth' through the afterlife, the structure is quite enjoyable. The 10-minute standing ovation at Venice makes sense.
Honestly, the middle really drags. But it gets somewhere moving and has some of Hosoda's strongest imagery in its final scenes. The destination is worth the overlong journey. This is arguably his most ambitious work yet.
Looking forward to the German release. From the trailer, it looks visually overwhelming and the themes seem very relevant to current world affairs. The message about breaking the cycle of revenge is universal.
As an anime fan, I appreciate that Hosoda pursued a new visual expression that's neither traditional 2D nor Hollywood-style CG. An ambitious work that took 4.5 years to produce. I commend his courage in choosing artistic challenge over commercial success.
Highly regarded in the Spanish anime community. The worldbuilding reminds you of Lord of the Rings and Joan of Arc. The attention to detail is stunning, with every location in the film rendered clearly.
The gender swap makes the legendary play more accessible. The creative choice to reframe the tragic prince as a teenage girl is commendable. However, the time-twisting gimmick doesn't necessarily alter the source material for the better.
There are definitely issues. The dance scene is abrupt and there's too much preachy dialogue. But it's important for talented filmmakers like Hosoda to take these big swings, even if they don't pay off.
As an international anime fan, the harsh reception in Japan is disappointing. We recognize Mirai as his masterwork, so perhaps our expectations for artistic challenges differ. The cultural reception gap is fascinating.
As an Italian, the homage to Dante was a pleasant surprise. The structure depicting the ascent from purgatory resonates strongly with audiences familiar with the Divine Comedy. I understand why Japanese audiences might be confused without this literary context.