Not Rated
1973    1h 37mDrama, Action
7.6100%85%7.5
A young woman is trained from birth to be a deadly instrument of revenge against the swindlers who destroyed her family.
Directed by Toshiya Fujita
  • Meiko KajiYuki Kashima
  • Toshio KurosawaRyūrei Ashio
  • Masaaki DaimonGō Kashima
  • Miyoko AkazaSayo Kashima
  • Shinichi UchidaShirô Kashima
  • Takeo ChiiTokuichi Shôkei
  • Noboru NakayaBanzô Takemura
  • Yoshiko NakadaKobue Takemura
  • Akemi NegishiTajire no Okiku
  • Kaoru KusudaTora Kobayashi
  • Mayumi MaemuraYoung Yuki
  • Eiji OkadaGishirō Tsukamoto
  • Kō NishimuraPriest Dokai
  • Sanae NakaharaOkono Kitahama
  • Hōsei KomatsuGenzô Shibayama
  • Makoto MatsuzakiDaikashi
  • Hiroshi HasegawaDaihachi Kachime
  • Takehiko Ono
  • Hitoshi TakagiMatsuemon
  • Kenji ÔkuraHenchman
  • cyberbillp
    cyberbillpDecember 3, 2025
    Such a serious movie. I liked it a lot. Sword fights with buckets of blood. They don't make movies like this anymore. Classic Japanese cinema.
  • Kevin Ward
    Kevin WardAugust 12, 2026
    A bloody affair indeed. Loved this. Loved the camera work, the visuals, the spurting blood, et al. Made me realize Tarantino is a complete hack /s. 
  • hairydemon
    hairydemonMay 9, 2026
    epic cinema
  • johnrodan
    johnrodanDecember 9, 2025
    Iconic visuals and music. The paper thin plot is a vehicle for seeing Meiko Kaji delivering death and deadly glares.
  • chas819
    chas819December 29, 2025
    Very entertaining
  • Jeffery Brookshire
    Jeffery BrookshireDecember 16, 2025
    The Cinematography! This movie may very well contain some of the most beautiful shots ive ever seen on film. You can watch this entire movie wiithout understanding or reading a single word. Yet, it still speaks to you, you understand exactly what is going on.
  • Shahmar Hasanbay
    Shahmar HasanbayNovember 25, 2025
    Tarantino is more of a great viewer than a great director. You could even say he doesn’t really have a style of his own. He remixes different genres, films, scene aesthetics, and so on to create a new form. But you can’t call that plagiarism — it’s more accurate to call it a postmodern film language. The energy of his films comes from this mixture. As for Lady Snowblood, the film’s aesthetics and visuals, its color palette, and so on were beautifully crafted. What caught my attention the most was the camerawork: the abrupt transitions between scenes, the sudden zoom-ins and zoom-outs, the close-up shots of the characters’ faces, etc. Since the film is based on a manga, its shooting style tries to capture the panel structure of the manga. As the Turks say, it was quite unconventional. The idea of the film is that revenge is never truly complete — it always gives birth to new acts of revenge.

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