When it comes to film, two of Japan’s most common genre outputs are the Samurai Film and the Ghost Story. At first glance (okay, and many sequential glances), Toshiya Fujita’s LADY SNOWBLOOD (1973) fits snugly in the Samurai category, following a stunning female assassin as she travels through late 19th century Japan, attempting to avenge her mother’s death. After looking closer at our heroine Yuki Kashima’s/The Lady Snowblood’s trial, however, it becomes clear that the film also works as a metaphorical ghost story, successfully blending the two prominent genres in an interesting and symbiotic way. Like a ghost whose unrest prevents it from passing on, Lady Snowblood’s entire existence is tied to a single piece of Unfinished Business: her quest for revenge. But whereas a phantom moves from this life to the next, Yuki’s eventual success actually gives her life for the first time, ending her state of limbo.