As Japan trudged on through the COVID-19 pandemic, its film industry found some cause for celebration in 2021. For the second year in a row, domestic films dominated the box office, with Japanese films accounting for nine of the top 10 earning titles. By contrast, in pre-pandemic 2019, six of the top 10 films were from Hollywood.

It’s not yet clear whether 2022 will deliver the same box-office results, as Hollywood may well rebound from its dismal 2021 showing, with titles like “The Batman” (March 11), “Sing 2” (March 18), “Fantastic Beasts: The Secrets of Dumbledore” (April 8) and “Top Gun: Maverick” (May 27) in the pipeline.

Also, despite the triumph of domestic fare at the box office, 2021 was still a rough year for Japan’s film industry: Total box-office earnings for the year were still only about 60% of 2019’s, as independent theater owners struggled to stay afloat due to financial hits brought on by the pandemic. On Jan. 11, Iwanami Hall, a pioneering venue for art films in Tokyo’s Jimbocho neighborhood, announced that it would shut its doors in July.

Nonetheless, there are plenty of Japanese films to look forward to in 2022. Perennial box-office leader Toho has unveiled its 2022 lineup, and one of its most hotly anticipated titles is “Suzume no Tojimari,” the latest animation by Makoto Shinkai, maker of the smash hits “Your Name.” (2016) and “Weathering with You” (2019). Based on Shinkai’s original script, the film is a fantasy about a teenage girl who goes on a mission to lock the “doors of calamity” located throughout Japan. A fall release is scheduled.

As always, Toho’s slate is anime-heavy, including new installments in the long-running “Doraemon” (March 4), “Detective Conan” (April 16) and “Crayon Shinchan” (April 22) series. Among its standalone anime titles is “The Deer King: The Promised Journey With Yuna” (Feb. 4) by the Production I.G studio. It's about a warrior, a young orphan girl and a doctor who embark on a quest to find a cure for a disease that is ravaging the world. Another is “The Imaginary,” an animated film based on A.F. Harrold and Emily Gravett's children’s book of the same title about a girl and her imaginary friend. Former Studio Ghibli animator Yoshiyuki Momose is directing for the Studio Ponoc animation house, with a summer release penciled in.

Among Toho’s upcoming live-action films is “Shin Ultraman” (May 13), Shinji Higuchi’s take on the iconic Ultraman tokusatsu (special effects) franchise. Higuchi is working from a script by Hideaki Anno, his co-director on the 2016 blockbuster “Shin Godzilla.” Another is “Kingdom 2” (summer), Shinsuke Sato’s follow-up to his 2019 hit period actioner set during China’s Qin dynasty about two boys from the same village who vow to become generals.

Naomi Kawase’s documentary on the Tokyo Olympics, tentatively titled 'Tokyo Olympics 2020,' is set to be released in June. | © 2021 INTERNATIONAL OLYMPIC COMMITTEE. ALL RIGHTS RESERVED.
Naomi Kawase’s documentary on the Tokyo Olympics, tentatively titled 'Tokyo Olympics 2020,' is set to be released in June. | © 2021 INTERNATIONAL OLYMPIC COMMITTEE. ALL RIGHTS RESERVED.

Sure to attract international attention is the tentatively titled “Tokyo Olympics 2020,” acclaimed director Naomi Kawase’s documentary on last year's Summer Games, which Toho is set to release in June. The film stirred up controversy when an NHK documentary about its production ran a chyron saying a man interviewed by one of Kawase’s team members claimed he had been paid to take part in anti-Olympic protests. Subsequent investigations cast doubt on this claim, while exonerating Kawase of any involvement. Nonetheless, anti-Olympic activists have said on social media that Kawase, who expressed support for the Games in the same NHK documentary, is producing pro-Olympic propaganda. Kawase responded to the claims in a July 2020 interview with CNN, saying, "I think it's very important to keep both negative and positive feelings as the record of this period," including negative feelings about the Olympics.

Toho, however, is not the only local distributor with must-see films on its lineup. Warner Japan has just released “Noise,” a suspense film by Ryuichi Hiroki about a series of murders on a remote island. With a score driven by guitarist and composer Yoshihide Otomo’s thumping bass notes, the film provides a gripping lesson on the dangers of groupthink, as well as how ancient grudges can still have disastrous consequences in the present.

Coming up on Feb. 11 is “Just Remembering,” a piquant drama by Daigo Matsui that winds back through the years as it depicts the romance between a taxi driver (Sairi Ito) and a dancer (Sosuke Ikematsu), with the Jim Jarmusch classic “Night on Earth” serving as inspiration. The film won the audience award at last year’s Tokyo International Film Festival.

Also, “Ribbon,” the feature directorial debut of Japanese actress Non, will open on Feb. 25. Set at the start of the pandemic, the film focuses on an art student (Non) who seeks purpose and finds love after the coronavirus forces her school to shut down. Non’s character has the ingenue charm her fans have come to expect, but “Ribbon” is also a penetrating look at the consequences of the pandemic on young psyches and careers.

A day later, on Feb. 26, American director Thomas Ash’s documentary “Ushiku” arrives in theaters. Using hidden camera footage, Ash has created a shocking expose of harsh conditions in the title immigration center in Ibaraki Prefecture, which has screened at several festivals abroad and garnered media attention in Japan.

Coming in May is “Lesson in Murder,” a Kazuya Shiraishi mystery about a law student (Kenshi Okada) who investigates a murder he believes was wrongly pinned on a convicted serial killer (Sadao Abe). In the course of his search, we learn that, as a boy, the student was a regular at the killer’s bakery shop. Abe delivers a hypnotic performance reminiscent of Anthony Hopkins as Hannibal Lecter in 1991's “Silence of the Lambs.”

Set for release later this year is “Riverside Mukolitta,” Naoko Ogigami’s quirky comedy about a loner (Kenichi Matsuyama) who moves into a rundown apartment building in the countryside to get away from the stress of city life, but gets caught up in the lives of his oddball neighbors. The film premiered in the Nippon Cinema Now section of last year’s Tokyo International Film Festival.

While there is plenty in the pipeline for theatrical releases this year, Japan’s best filmmakers no longer show all their work through traditional distribution channels. That’s because Netflix and other streaming platforms offer them the sort of freedom, resources and international exposure that the domestic industry struggles to match. One who recently took the streaming plunge is Hirokazu Kore-eda, winner of the Cannes Palme d’Or for his 2018 dark family drama “Shoplifters.” In January, Kore-eda announced that he would serve as showrunner, co-director and writer for the eight-episode drama “The Makanai: Cooking for the Maiko House,” which is set to drop on Netflix this year.

Based on a comic by Aiko Koyama, the series focuses on a cook at a geisha house in Kyoto. Among the directors of the individual episodes are up-and-comers Megumi Tsuno, Hiroshi Okuyama (“Jesus”), and Takuma Sato (“ Any Crybabies Around?”). This is Kore-eda’s first project with Netflix, but hardly his first as producer. As head of his own production company, Bun-Buku, he has been supporting the work of emerging filmmakers since 2012, including the five-part sci-fi anthology “Ten Years Japan” (2018) to which Tsuno contributed.

Although Toho will probably once again take the lion’s share of Japan’s box-office earnings in 2022, leading Japanese filmmakers like Kore-eda will continue to work more with streaming services, whose cross-border popularity has grown in line with pandemic-driven changes in viewing habits. That means competing more in a different, wider arena, one with a potentially global audience.