Kwaidan is not a typical piece of horror. In fact, I’m not sure it could be classified as horror at all. I think the term nightmarish is appropriate, and each of the narratives explored are highly stylized in this vein. The film consists of four short films that share certain qualities. Their plots are highly reminiscent of folklore. They develop in such a way that the films’ central characters are slowly introduced to a horror that eventually consumes their lives. All are completely dreamlike in appearance; an ominous atmosphere pervades each tale.
For me, the most engaging aspect of each piece was the accompanying soundtrack. In the first tale, “The Black Hair,” dialogue is sparse and unexceptional. The viewer develops a certain sense of dread and expectation not necessarily through plot developments, which are also fairly standard, but through the odd ticks, twangs, and reverberations that one hears throughout the film. They effectively keep the pace of events and provide a foreboding atmosphere. This effective use of sound is not exclusive to the first tale and bleeds into each story that follows. 
The general aesthetic of Kwaidan utilizes imagery that is representative of its folklore influence. One way it does this is through the use artificial backgrounds, especially when it comes to nature. In “The Woman of the Snow,” we can literally see the “eye of the storm” that the central character is trapped in. I suppose this could be considered an element of fantasy. The movies I like that could plausibly be classified as horror all incorporate this aspect to some degree. Suspiria came to mind more than once while I was watching. This has mostly to do with the highly illuminated colors that make up surrounding environments. A habitat gains animateness and becomes a character of its own.
It is undoubtedly the style of Kwaidan that kept me so engaged. Noting that I am no good with terms and classifications, I have recently acknowledged that I’ve become less interested in films that seem to feature surrealism as a cornerstone; Lynch’s work would be an example. Nonetheless, I greatly enjoyed the experience that this film gave me. Maybe this is due to the extended break I’ve taken from the use of style for the sake of it (probably not the intent, I know – it is just my predominant interpretation). While I prefer what I will equivocally refer to as reality, I do not mind delving into a dreamworld once in a while, provided it is as enriching as the one Kobayashi has created.
Alex's Writings 