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At Kyoto's ruined Rashōmon gate, a woodcutter and priest recount a samurai's death in the forest. A bandit, the samurai's wife, the dead man through a medium, and the woodcutter offer incompatible versions of the encounter.

Sunlight through leaves, direct looks into the lens, repeated forest paths, theatrical testimony, and changing camera positions make each account emotionally persuasive but unstable; the form exposes self-presentation without offering an easy neutral view.