The first and second stories in the film, "Black Hair" and "The Woman In The Show" are more personal in their horror. In "Black Hair", a samurai leaves his wife for reasons of personal ambition and striving away from poverty. Through his service to the lord, whose daughter he marries, he often thinks of his hard-working wife. He compares her to his new superficial bride, who can be transported into heights of bliss by the smell of fine silk. After a few years he gives up this languid life and returns to his hometown. His wife is still there, slaving away at her loom. He discovers his true love, but things have changed.

"The Woman In The Snow" or "Yuki-Onna" tells the tale of two wood-cutters caught in a blizzard one night. They stumble into a ferryman's hut to take shelter from the storm. A strange woman drifts in from the snow. The terrified younger wood-cutter watches her drain the blood from his father with a breath. She spares him for his youth, but warns him never to speak of her to anyone. Years later, he marries a beautiful woman he meets in the same woods, and has three children. He admires her beauty, but fails to notice that she never grows old. One night, he does look closely, and his discovery changes their relationship.

Both stories perhaps depict the neglected Japanese woman, one of history's silent sufferers. While the males went off to fight their futile wars, the woman were relegated to a role of weaving, artistic pursuits and housework. The samurai and the wood-cutter discover too late what they had ignored.

The final tale, "In a Cup of Tea", tells of a writer who keeps seeing a man's face in his cup of tea. The simplicity of this tale masks its innate complexity, and its horror is less obvious than the others.

The film combines fine story-telling with visually stunning sets and tonal music that sets the atmosphere, one of a winter's night, when a traveller might pause to tell a dark tale or two, then move on, into the night.

Ed:LisaM