Kenshi Yonezu, a Japanese shape-shifting creative force, seems to treat genre and medium as gentle suggestions rather than fixed rules. From his early days as a Vocaloid producer, HACHI, to becoming one of Japan’s most influential singer-songwriters, Yonezu has built a reputation for transforming emotions and sound into cinema. And now, he has done it again, this time with a little help from Chainsaw Man and the legendary Hikaru Utada.

Yonezu has released a brand-new, fully animated music video for JANE DOE, the haunting ending theme for CHAINSAW MAN – THE MOVIE: REZE ARC, and if the Chainsaw Man universe already lives in your head rent-free, this video makes it move in permanently.

The visual is built around the crackling connection between Denji and Reze, bringing their intertwined destinies into an emotional focus. It opens in a phone booth, during a sudden downpour – a classic cinematic setup that somehow feels fresh again through Yonezu’s lens. There is something achingly tender about the way the two characters meet, the kind of “this moment matters more than you realise” energy that screams heartbreak long before it happens.

Think: youth, longing, rain-soaked fate, but animated so beautifully it almost hurts.

This release arrives at a moment when CHAINSAW MAN – THE MOVIE: REZE ARC is absolutely dominating, screening in over 100 countries and topping the global box office like it was born to sit there. And while the film conquers cinemas, Yonezu is breaking the internet.

His opening theme “IRIS OUT” has now passed 100 million streams on Spotify, landing in the Top 5 of the Billboard Global 200 for two consecutive weeks – the highest-ever position for a Japanese-language song. Meanwhile, “JANE DOE,” his collaboration with Utada, debuted at No. 10 on the Global Excl. U.S. chart, making history as the first time a Japanese artist has held two Top 10 global spots simultaneously. Casual behaviour.

And if that wasn’t enough, his legendary Chainsaw Man opening “KICK BACK” has now crossed 500 million streams, following its historic RIAA Platinum certification – the first Japanese-language song to ever achieve that status.

But what makes Kenshi Yonezu great is the fact that he is a true multi-hyphenate artist. His album covers, illustrations, and video concepts are all extensions of his mind. His iconic track “Lemon”, the theme for Unnatural, became the most-viewed Japanese music video ever and dominated Billboard Japan’s year-end charts for two consecutive years. Not bad for a person who treats art like a second language.

Even during the pandemic, Yonezu didn’t slow down, performing as the first Asian artist in a Fortnite virtual concert, collaborating globally with UNIQLO, earning recognition from Forbes, and receiving prestigious art awards in Japan. It’s the kind of résumé that makes you blink twice.

And the timeline of his recent work reads like a greatest-hits tour of modern pop culture: Final Fantasy XVI, Studio Ghibli’s The Boy and the Heron, Shin Ultraman, Netflix’s Beyond Goodbye, Gundam, Medalist – if it matters in pop culture, Yonezu is probably involved.

His 2025 WORLD TOUR / JUNK pulled in a staggering 440,000 fans across Asia, Europe, and the U.S., and with KENSHI YONEZU 2026 TOUR / GHOST already announced, the momentum shows no signs of slowing.

Kenshi Yonezu continues to do what he does best: turn sound into cinema, heartbreak into something strangely beautiful.

And honestly? We wouldn’t have it any other way.

_{View of the Arts is an online publication dedicated to films, music, and the arts, with a strong focus on the Asian entertainment industry. With rich content already available to our readers, we aim to expand our reach and grow alongside our audience by delving deeper into emerging platforms such as K-pop and Asian music more broadly. At the same time, we remain committed to exploring the vibrant and ever-evolving global landscape of film, music, and the arts, celebrating the immense talent and creativity that define these industries worldwide.}