You don't watch a Mononoke film so much as get walled inside it, wallpaper closing in, every frame textured like woodblock paper someone soaked in gold leaf and bad intentions. Two movies in, the trilogy has already burned through the Ooku's polite surfaces: Asa and Kame walking into a palace where a man's presence costs him his head, then Chapter II's harem feuds curdling into a spirit born out of pure envy. Hebigami is where the Medicine Seller finishes his ledger, and his rules haven't changed since 2007. No Form, no Truth, no Reason, no sword. That's the tension the whole franchise runs on, and it means the horror isn't the mononoke, it's the interrogation, the moment somebody finally admits the ugly little thing they did and can't take back. Kenji Nakamura has spent two films tightening this. Come for the closing argument.

Hebigami is the third film in the Mononoke movie trilogy, coming after The Phantom in the Rain and The Ashes of Rage. The earlier chapters took place in the Ooku, the women's quarters of Lord Tenshi's court, where a wandering figure called the Medicine Seller faced spirits born from envy, rivalry and family strife. This closing entry is a supernatural horror mystery with a psychological edge.