Best Japanese Horror Movies
Japanese film horror (or “J-horror”) films are their own version of terrifying. It doesn’t matter if they’re about serial killers or threatening spirits. The films produce an entirely different kind of terror that’s infused with fear of the unknown. The meaning of existence, and the isolation that’s part of the human condition.
This is a particular kind of nihilism, frequently accompanied by the absurd and awe-inspiring, pointing to the absurdity in existence itself. This is the reason why these films are so difficult to translate to the Western view. They’re so Japanese that taking away the cultural context, in turn, reduces the terror. This isn’t just a terrifying image but a deeper fear of the mind caused by the growing loneliness of the technological age. To generate fantasy names online, give a shot to an online god name generator.
This list is designed to show the wide range of Japanese horror films, ranging from absurd horror films to terrifying stories of ghostly viruses. It also hopes to highlight the vast amount of the horror genre in Japan and is tied to complicated folklore that includes monsters, spirits, and demons. Some directors will receive multiple mentions.
Horror icons like Takashi Miike or Sion Sono aren’t only masters of their craft. However, they’re also extremely prolific and their impact on the genre can’t be limited to one film. If you’re just beginning to learn about Japanese horror. This is the perfect starting point into the wild and fantastic world of J-horror. Using an online japanese name generator tool, you can get the idea of different types of Japanese names easily.
You should watch these Japanese movies if you love to watch horror movies.
Tetsuo: The Iron Man
This film is a must-see for all the gore-lovers. It is an ideal film for those who love high-concept horror which isn’t so much about a predetermined story and much more focused on creating a specific mood that will have your teeth on edge.
Produced by Shinya Tsukamoto “Tetsuo: The Iron Man” tells the story of an employee (Tomorowo Taguchi). Whose thoughts are stricken by pictures of the body being penetrated by metal scraps? These terrifying thoughts seep into the real world when the reality of the man is mixed with the reality of a metal lover. Who is a fanatic about injecting metal into his skin? He seems to you really do, until maggots appear in his flesh.
Although “Tetsuo: The Iron Man” is shot in black and white, it does not make the brutality any less horrific. The blood that oozes out looks like goopy oil that gushes out from open wounds. Human flesh is equated with machines. The thing that is even more fascinating in “Tetsuo: The Iron Man” is the fact that it’s the story of love between the salaried worker and the metal fanatic. Both of them seek the unholy union of metal and flesh.
“Kwaidan,” which translates to “ghost story,” is a 1964 horror film written and directed by Masaki Kobayashi. The film is based on Lafcadio’s collection of Japanese folktales. The story’s first, “The Black Hair,” is about a samurai. He is poor who is unhappy that he has left his loyal wife to a more wealthy and cold woman in order to attain more respect in society.
The following one is “The Woman of the Snow,” in which two woodcutters seek shelter in a hut during an icy storm. In the hut, one is killed by an angry spirit that spares the other in exchange for an agreement. That the latter not divulge to anyone the things he’s witnessed. The strength of his resolve gets tested as he encounters an attractive woman who looks like the spirit.
The third story is a tale-within-a story called “Hoichi the Earless,”. About a blind musician called Hoichi who is the focus of a wealthy family who could not be real. The final tale, “In a Cup of Tea,” is an incredibly short and sweet story of a guy who is constantly finding faces within his cup of tea. “Kwaidan” is a gorgeous journey into Japanese folklore as well as some of their most beloved ghost stories which have been re-told over the centuries.
It’s not the only film using found footage that’s on this list. Following the direction of the iconic classic (now famous for its horror) “Ju-On: The Grudge,” director Takashi Shimizu came out with “Marebito,” a tale of a man with a nervous personality. Who is obsessed with filming his surroundings after witnessing an individual commit suicide. With his camera, the man tries to gain insight into the meaning of death.
In pursuit of his goal in the quest, the protagonist is transported to a strange world beneath Tokyo equipped only with a video camera. When he is exploring this strange location. He comes across an unnamed young woman who is chained to a wall. Who chooses to “save” and bring her home. As he gets to know the woman. He discovers she isn’t eating drinks, eating, or chatting — oh it’s a bit of the territory of vampires.
While he continues to look after and care for the person who is in need, the man’s behavior becomes more violent. Eventually, he discovers that he has introduced something to the world that ought to be left in the place it was. “Marebito” takes a lot of its inspiration from the works of H.P. Lovecraft is a play with the overwhelming madness that is inherent to cosmic horror.
Sion Sono is a maniacal genius who refuses to let difficult things such as the concept of a “cohesive narrative” hold him back. In his film from 2015 “Tag,” student Mitsuki (Reina Triendl) is the only one to survive an incredibly tragic accident in the course of which a wind gust cuts her bus as well as her fellow students — in half. This opening scene sets the stage for a hilarious story that has many dimensions. Mistaking identities as well as teachers with machine guns and more.
“Tag” is a film created for gorehounds in search of something completely gory, yet equally stunningly feminist. In the film, Mitsuko traverses an eerie hellscape, while seeing her entire group suffer the same fate as them. Sono questions the objectification and the role of female bodies in an exploitation horror. Why is it referred to as “Tag?” Could it be one huge game? You’ll have to see to discover.