According to the Korean Film Council’s Integrated Computer Network for Theater Ticketing on the morning of August 20, Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle (hereafter “Infinity Castle”) recorded over 650,000 presold tickets. This set a new high for 2025, overtaking My Daughter Is a Zombie (430,000 tickets), and even surpassing the opening-week presales of James Cameron’s Avatar: The Way of Water (520,000 tickets) on its Monday release.
Based on the hit manga with over 220 million copies in circulation, the theatrical adaptation depicts the Demon Slayer Corps’ ultimate battle inside the blood demon stronghold, Infinity Castle. It marks the first chapter of the three-part finale and continues the story from Demon Slayer: Kimetsu no Yaiba – To the Hashira Training.
Released in Japan on July 18, the film earned 10 billion yen in just eight days—the fastest record in local box office history. It recently surpassed 18.27 million viewers in Japan. With critics praising its cinematic scale befitting a grand finale, expectations in Korea have soared. The distributor boosted buzz through early screenings and merchandise promotions.
Yet backlash has emerged, given the release date falls just a week after Korea’s Liberation Day. A planned baseball ceremonial first pitch featuring characters Tanjiro and Nezuko was canceled after protests that it was “inappropriate before Liberation Day.”
This sensitivity stems from the series’ setting in the Taisho era (1912~1926), overlapping with Japan’s colonial rule over Korea. Some plotlines have been criticized as evoking totalitarian imagery, and Tanjiro’s earrings have drawn accusations of resembling the Rising Sun flag. Even kimono-clad promotions near Liberation Day sparked heated debate.
Nevertheless, Infinity Castle has remained No.1 in presales daily, reaching 400,000 tickets by Liberation Day itself. Cultural experts note that younger audiences increasingly separate Japanese content consumption from historical or political contexts. Cultural critic Ha Jae-geun observed: “OTT platforms lowered entry barriers for Japanese subculture during the pandemic, and Demon Slayer has always had strong production quality, which builds anticipation.”
Critic Kim Sung-soo added: “Fans are not endorsing Japan’s historical perspective but rather drawn to the allegories of hyper-competitive society and the depth of character arcs. This level of loyalty has created a dedicated fandom large enough to dominate presale records.”
The film’s rollout in Korea has also raised eyebrows. Paid premiere screenings on August 16 and 17 at multiplex chains drew over 23,000 attendees across 74 showings, with a seat occupancy rate of 96.8%. Some theaters have even scheduled midnight launch screenings on August 22, selling out IMAX and 4DX halls. Industry insiders have labeled this strategy a “non-standard release.”
Critic Kim noted: “Highlighting presale records and canceled promotional stunts creates a perception that niche fandom has crossed into mainstream popularity. It also reflects how desperate theaters have become, allowing large-scale marketing pushes for a single film.”
Despite controversy, Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle is poised to be one of the year’s biggest box office stories, proving the franchise’s immense cultural clout.
Sources: 다음 – 일간스포츠
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