Director Kaneto Shindô is most famous for his 1964 ghost story Onibaba; and anyone that enjoyed that film will certainly enjoy this one. The two films are very similar in style, and that's a good thing for both as the thick and surreal atmosphere created by the director creates a perfect atmosphere for a horror story to take place in. The title of the film translates in English to 'The Black Cat' - a staple of the horror genre ever since Edgar Allen Poe penned his classic story; although this film has nothing to do with the writings of Poe and is an original story written by the director. The film takes place in feudal Japan and our focus is on a mother and daughter-in-law living alone in the swamp. Its war time and all the samurais are out fighting. However, one day a group of them happen on the pair and after eating their food, the samurai's rape the women. Shortly thereafter, many samurai are being found dead in the area; they are drained of blood with their throats ripped out. Naturally the lord of the land comes to the conclusion that a monster is behind it, and sends a young hero to deal with the problem.

Kaneto Shindô is keen to fill his film with rich symbolism and striking visuals; but also finds time for some visceral horror. The opening scenes are shocking and later the films builds into some truly memorable and surreal sequences that, when combined with the atmosphere, do manage to be quite frightening. The swamp location is a really great place for the film to take place also; and the director makes the best of it, especially during the parts in which the younger of the two women is leading the stray samurai's to their death. The film is more than just the central story; and we also follow things going on around it; such as the eventual hero's fight that earned him the right to seek out and kill the demons. The central story is definitely the most interesting, however, and while the sub plots are not boring; I did mostly find myself waiting for the film to get back on track. The way that the story builds into the end, which really brings all the stray subplots together, is really good and the film ends on a very strong note. Overall, The Black Cat is not quite as great as the director's masterpiece Onibaba; but it's certainly a very good horror film.

Two women are raped and killed by samurai soldiers. Soon they reappear as vengeful ghosts who seduce and brutally murder the passing samurai.

Manohla Dargis describes the film as "a ghost story that's more eerie than unnerving, and often hauntingly lovely". Maitland McDonagh writes that it is "darkly seductive" and "sleek, hair-raisingly graceful, and ready to take its place alongside the other landmarks of Japanese horror history". I appreciate that the phrase is "take its place", implying it is not already there. Despite being released by no less an authority than the Criterion Collection, I don't think this is a very well-known Japanese horror film.

What is really striking for me is the use of the eyebrows. A simple use of makeup, but it makes for a very creepy and offsetting feeling. The women become somehow other than human.

After Yone (Nobuko Otowa) and her daughter-in-law Shige (Kiwako Taichi) are raped and murdered by a gang of samurai, the women's spirits return from the underworld in human form, having vowed to kill all samurai and drink their blood. The discovery of several samurai with their throats torn out leads warlord Raiko Minamoto (Kei Satô) to order military hero Gintoki (Kichiemon Nakamura) to slay the monster responsible. However, when Gintoki encounters the ghostly women, and recognises them as his wife and mother, whom he hasn't seen since returning from war, he cannot bring himself to destroy them; his refusal to carry out his orders puts his life in danger. Similarly, Yone and Shige risk an eternity in hell by not killing Gintoki.

Rooted in Japanese folklore, Kuroneko (AKA Black Cat) is a wonderfully lyrical horror fable -- a magical, violent, and sensual story of revenge, anguish, and love after death, masterfully told by director Kaneto Shindô (Onibaba). Beautifully shot in black and white, with lighting, framing and camera movement planned to perfection, the film is a feast for the eyes, but not at the expense of the storytelling, Shindô gradually drawing the viewer in with his tragic tale for whom there can be no happy ending. As is often the case with ghost stories, especially old Oriental ones, the pace is leisurely, with the emphasis on atmosphere over spectacle, but even so, Kuroneko is never boring: it's far too well crafted to be considered dull. The closest it comes to disappointing is with its somewhat confusing conclusion, but it compensates by having it snow, and who doesn't love snow in a Japanese movie?

7.5/10, rounded up to 8 for IMDb.