Yōkai妖怪
  1. Logline
  2. Synopsis
  3. Why now
  4. Yōkai
  5. Characters
  6. The Skin-Taker
  7. Night Parade
  8. Plot
  9. Writers
  10. Contact
A moonlit hot spring beside a lantern-lit wooden inn. A young man with a holdall stands at the steps while spirits watch from the steam.

Written by Jonathan Kogan & Sebastian Ackland

Yōkai

A Horror Comedy

“Touch no god, suffer no curse”

Japanese proverb 触らぬ神に祟りなし

百年の借り

Logline

Following the mysterious death of his estranged father, a half-Japanese British graduate inherits a crumbling hot-spring hotel in rural Japan, where he must uncover his family’s darkest secret before the local Yakuza and the murderous spirits of the forest collect a century-old debt.

あらすじ

Synopsis

Format
Feature film
Genre
Horror comedy
Audience
18–35. Fans of horror, comedy and Japanese culture

Set in the mist-shrouded forests of rural Japan, this supernatural horror-comedy follows Ken, a half-Japanese British graduate who unexpectedly inherits his father’s crumbling hot spring hotel. Hoping for a quick sale and an easy exit, he instead discovers the inn is deeply in debt to the local Yakuza and built on land inhabited by ancient yokai who have grown tired of being ignored.

As gangsters, spirits, and generations of buried family trauma collide, the hotel becomes the site of a wildly escalating nightmare of curses, possessions, ritual violence, and darkly comic misunderstandings.

Think Weapons meets An American Werewolf in London, with Japanese folklore and a criminal underworld twist. The film blends sharp character comedy with genuine horror, pitting modern cynicism against ancient superstition as inherited guilt (financial, cultural, and spiritual) finally comes due.

Ink-wash drawing of a kappa crouched by a mountain stream below a temple.

今こそ

Why now

The market

  • Indie horror-comedy films are booming and remain one of the strongest performing genres for independent films.
  • Audiences are looking for fun, original genre films with strong concepts and memorable characters.
  • Recent successes show there is a demand for horror that balances scares with humour.

Recent examples: budget to box office

  1. Obsession$750K budget · $500M+ gross

    667×
  2. Backrooms$10M budget · $400M+ gross

    40×
  3. LonglegsUnder $10M budget · $120M+ gross

    12×+
  4. M3GAN$12M budget · $180M+ gross

    15×
  5. Weapons$38M budget · $250M+ gross

    6.6×
Box office as a multiple of budget, from the treatment’s figures. Grosses are “over” figures, so each multiple is a floor.

Production

  • Primarily set in and around a single hotel and its grounds.
  • Limited locations and a small focused cast help keep production costs controlled.
  • Budget can be focused on production design, practical effects and creating a memorable world.

Trends

  • Japanese culture has never been more popular globally.
  • Growing global interest in Japanese culture through anime, gaming, food and travel.
  • Japanese folklore offers a fresh mythology rarely explored in Western cinema.
  • Yōkai introduces audiences to a new world of creatures, legends and traditions.

民間伝承

Yōkai

Yōkai are supernatural beings from Japanese folklore. Spirits that inhabit the natural and human worlds. Neither simply good nor evil, they can be playful, protective or terrifying, often emerging when ancient places, objects or traditions are neglected and disturbed.

In Yōkai, they are the forgotten guardians of the forest and hot springs, awakened to collect a spiritual debt owed by the hotel’s owners for generations.

Folk illustration of a pale, frog-like spirit lounging in a round wooden tub.
Bathhouse spirit
Folk illustration of a pale woman in white robes standing in mist beneath willow branches.
Ghost in white
Folk illustration of an armoured warrior spirit holding a trident hung with skulls.
Warrior spirit
Folk illustration of a winged, long-nosed tengu leaping among maple leaves.
Tengu

登場人物

Characters

Take a key from the front desk.

Ken, in a white shirt and loosened tie, glances back from the hotel's front desk.

The heir 相続人

Kenji ‘Ken’ Clarke

Mid-20s

Kenji ‘Ken’ Clarke is a half-Japanese British hospitality graduate with a degree he’s proud of and a job he hates. His crisp shirts and practised smile barely disguise his dissatisfaction with his station in life. Needing to support his ailing mother, he has spent four mundane years behind a London hotel reception desk, being talked over by a manager with half his qualifications. Capable and ambitious, he has plenty of ideas but avoids the confrontation and risk involved in acting on them, and while under pressure, he automatically retreats into procedures and customer-service politeness. Growing up estranged from his Japanese father, he often felt like an outsider, being told that he was neither Japanese nor British enough. At eighteen, he covered his back in traditional Japanese tattoos, chosen from a Camden studio wall in search of a connection to his absent father’s culture, despite not investigating their meaning.

After Ken inherits his estranged father’s failing onsen hotel, he travels to Japan intending to restore it and sell up in order to provide himself and his mother with a better life. There he discovers a resentful half-sister, yakuza creditors and hungry forest spirits. Finally in charge, he rushes into renovations, dismissing warnings from Rina and Toshi. He responds with a turnaround plan for a building that seemingly wants to eat its guests. As his attempts to modernise the hotel disturb the occult forces beneath it, Ken must take responsibility for the consequences of his decisions and earn the trust of the people whose home he has inherited. His growing attachment to the hotel and its people pushes him to confront the danger he has unleashed, risking his life to protect the family he never knew.

化け物

The Yōkai

Kawahagi, a gaunt horned figure draped in skins, wades through the steaming spring below the lit hotel, a scythe in hand.
Kawahagi, the principal Yōkai

Yōkai are supernatural beings from Japanese folklore, inhabiting both the natural and human worlds. Neither simply good nor evil, they range from playful to murderous. Once Ken’s renovations and the yakuza’s violence breach the old boundaries, the Yōkai return to collect a generations-old spiritual debt.

Kawahagi

皮剥ぎThe Skin-Taker

The principal Yōkai is Kawahagi (Skin-Taker), an ancient, predatory presence connected to the hot springs. Wielding a scythe, it collects payment in tattooed skin, perceiving tattooed flesh as a desecration of the sacred waters.

百鬼夜行

The Night Parade

Once a century

The wider supernatural world arrives with the Night Parade of a Hundred Demons, a nocturnal procession of spirits and monsters following an ancient route directly through the hotel.

Nurarihyon, a wizened old man with an enormous bald head, sips tea in the hotel's tea room.ぬらりひょん
Leader of the Parade

Nurarihyon

Leading it is Nurarihyon, an imperious old man who slips into the hotel unnoticed and behaves as though he owns it.

Akashita, a shaggy black beast with claws and a long red tongue, crouches on a sluice as water pours below.赤舌
Agent of retribution

Akashita

Akashita is a ferocious beast shrouded in black cloud, with sharp claws and a lolling red tongue: an agent of retribution in disputes over water.

Akaname, a spindly red creature, licks the wet floorboards of the bathhouse.垢嘗
Filth-licker of bathhouses

Akaname

Akaname, known as the filth-licker of bathhouses, feeds on the grime and dead skin their occupants leave behind.

And the rest

Around them gathers a swarm of spirits with its own customs and grievances. Ken, Rina and Ricky must find their way through this procession, learning when to hide and when to fight.

筋書き

Plot summary

Ext. Mountain inn, hot spring — Night

Prologue Japan, 1890

Japan, 1890. Outside an ornate mountain inn, a man sheds his kimono, revealing a torso covered in traditional Edo-period tattoos. He eases into a steaming, moonlit pool. A monstrous entity emerges from the trees wielding a scythe. It drags him under, slits his throat and peels the tattooed skin from his back in a single sheet. The water turns blood red.

Int. London hotel, front desk — Day

Act One Present day

London, present day. Ken (mid-20s), a half-Japanese British hospitality graduate, is the most overqualified man on the front desk of a mid-range London hotel, serving guests who barely acknowledge him and pitching ideas to a boss who wishes he wouldn’t. Under his crisp shirts, his back is covered in tattoos. At home, a solicitor’s letter reveals that his estranged father has died, leaving him a rural Japanese hot-springs hotel. His ailing mother persuades him to investigate: finally, a chance to put his degree to use, sell the place and give them both a better life.

A bewildering journey to a remote, forested valley in Nagano, Japan ends at a crumbling onsen hotel with no guests and staff who want nothing to do with him. Practical, sharp-tongued Rina (early 30s) claims not to speak English; Toshi (70s), the weathered, usually half-cut groundskeeper, answers his request for Wi-Fi with a booming laugh. Exploring the hotel and its sprawling grounds, Ken discovers unusual artefacts, crates of dynamite, a photograph of his parents together and ledgers revealing serious debts. He also finds the estate’s abandoned saltworks and an uphill reservoir fed by a saline spring, separate from the hotel’s bathing supply.

Ext. The hot springs — Night

Act Two

Ken throws himself into repairs, finding an unlikely father figure in Toshi. He gets the internet working and lists the onsen on Airbnb. His sole guest is Ricky Parvis (early 40s), a tactless, overly enthusiastic American anime obsessive, insufferable and delighted by everything, who irritates Rina enough to snap into English. She admits she is Ken’s half-sister, furious that the hotel she kept afloat was left to the son who never visited. News of the reopening brings local yakuza boss Masato Kuroda and his men to collect a personal, off-the-books loan he made to Ken’s father. Ken calls the police, only to discover they’re on the gangsters’ payroll. Kuroda’s men trash the hotel and beat Ken at the forest’s edge, spilling his blood onto the soil.

Desperate to make the hotel profitable, Ken ignores Toshi and Rina’s warnings and reopens the hot springs, removing old boundary markers he mistakes for obstructions. That night, Kawahagi, the ancient Skin-Taker, lures him into the water and cuts a strip of tattooed skin from his back. A drunken Toshi drives it back with brine from the saltworks reservoir, but the wound leaves Ken able to perceive the Yōkai: bizarre, terrifying spirits inhabiting the hotel and surrounding forest.

As Rina tends his injuries, she begins to accept that their father abandoned Ken too. Their hostility gives way to an uneasy bond. Kuroda and his gang take over the hotel, threaten Rina, and attack Toshi when he intervenes. Kuroda has the place under control until his men use the springs, where harmless-looking forest creatures turn into vicious Yōkai and butcher several of them.

A debt owed in skin

Toshi buries the bodies and finally explains what Ken has inherited: a debt owed in skin. In 1890, Ken’s ancestor diverted a sacred healing stream to supply the hotel, starving the forest and draining the water of its power. The family has profited ever since, while generations of yakuza have compounded the desecration by burying murdered rivals among the trees. Protective boundaries kept the spirits at bay until Ken’s renovations and the gang’s latest violence breached them. Kawahagi treats tattooed flesh in sacred water as a desecration and collects it as payment, but the debt keeps growing while the theft continues.

Ken learns the hotel sits on the route of the Night Parade of a Hundred Demons, which passes once a century. Ken has sullied the water in its path, and it is already coming up the mountain. Rina traces the stream’s original course on an old estate plan and identifies a sluice that could restore it, but the Parade has already cut off access.

By nightfall, grotesque spirits swarm the woods and the buried gangsters claw their way out of the earth. More of Kuroda’s men arrive looking for them, supplying the Yōkai with fresh fodder. An imperious old man has settled in the hotel’s tea room as though he owns it. Ricky recognises Nurarihyon, the Parade’s leader, and tells Ken that Kawahagi answers to him. A creature disguised as Toshi slips inside. The real Toshi fights it in blessed armour but is fatally wounded.

Int. Hotel kitchen — Night

Act Three

Trapped between armed gangsters and an onslaught of Yōkai as the Night Parade marches through the hotel, Ken and Rina barricade themselves in the kitchen with Toshi’s body. Ken dons Toshi’s armour to hold off the spirits, but they conclude only a flood of brine from the old saltworks reservoir can break the siege. Ricky volunteers. He carries the construction dynamite up the mountain and delivers a speech he has clearly been drafting since he arrived, in appalling Japanese, to an audience of monsters. The monsters attack, cutting off his escape. He detonates the charges, destroying the reservoir’s retaining wall and sacrificing himself.

The brine rushes down an old channel across the Parade’s route, scattering the spirits and breaking the siege. Kuroda abandons his men to retrieve cash and valuables from his car. The flood catches him in the lower grounds and kills him, while his remaining enforcers perish in the onslaught of Yōkai.

Nurarihyon remains inside the hotel, calmly taking tea. Ken reaches him and, with Rina translating, offers to restore the forest’s water. Nurarihyon demands a final payment for the generations of exploitation. Ken offers his tattooed skin in return for releasing Rina and every future descendant from the debt. Nurarihyon accepts, allowing the hotel to coexist with the forest once the stream is restored and the offering made.

Ken faces Kawahagi in a forest pool on the stream’s original course, recognising the stolen strip of his tattoo among the skins it wears. He removes the armour and kneels willingly. Kawahagi peels the tattooed skin from his back in a single sheet. As Ken sinks, Rina opens the old sluice, sending the restored stream into the pool. The sacred water closes his wounds, leaving his back scarred and bare of tattoos. Ken surfaces, alive. Kawahagi lays the ancestor’s skin beside Ken’s in the current and leaves with the Parade.

Ext. The hotel — Day — Months later

Epilogue

Months later, the siblings rebuild the hotel as joint owners, welcome Ken’s mother to Japan and reopen under a name honouring Ricky.

Fortunately, amid all his disastrous business decisions, Ken remembered to take out insurance.

脚本家

The writers

Portrait of Jonathan Kogan.

Jonathan Kogan

Jonathan Kogan is a writer, comedian, and composer best known for his work across British television and film, comedy clubs, and within the music industry, where his sketches and songs have reached over 50,000,000 streams across platforms.

He has had his first feature film Sessions produced, with a release scheduled for late 2026. Following the success of this project, he has been commissioned to write his second feature film.

He has become a regular featured writer and performer on British comedy panel shows including ‘Late Night Mash’, ‘Headliners’ and BBC Radio 4’s ‘News Quiz’, and recently performed and co-wrote a new show alongside British comedy legend John Cleese. He is represented by Industry Entertainment in Los Angeles.

Portrait of Sebastian Ackland.

Sebastian Ackland

Sebastian Ackland is a London-based producer, director, and screenwriter. An LSBU Film graduate, he is the founder of Polaris Pictures.

He has directed award-winning short films, music videos, and genre projects that have been showcased at festivals globally and at BFI Southbank. His films are dark, comedic and absurd.

A dark hotel reception desk with a brass service bell, an open guest ledger and a lantern. A clawed grey hand reaches out of the shadows towards the bell.

お問い合わせ

Thank you

Contact us

Daniel O’Reilly

danlaughs@gmail.com

+44 (0)7852 554196

Ring the bell for service.