Weerasethakul splits his film in half so a soldier's romance dissolves into a jungle hunt for a shaman-tiger, mirroring how Mononoke fractures narrative to reach the spirit beneath. Both treat folklore not as decoration but as a diagnostic procedure that reveals what desire and colonial history have buried in the landscape.

Alea's protagonist drifts through post-revolutionary Havana cataloguing the ghosts of bourgeois habit he cannot exorcise from himself, much as Mononoke's medicine seller cannot dispel a yokai without naming its grievance. The film insists that personal and national haunting demand the same triad of form, truth, and reason before any reckoning can occur.

Potter's bedridden writer hallucinates noir, musical numbers, and childhood trauma until the symptoms cohere into a confession, replicating the medicine seller's three-stage diagnosis where surface phenomena must be decoded before the wound closes. Both works treat genre itself as the membrane between a sufferer and the suppressed event that produced them.

This procedural recasts cold cases as ancestral debts the detective must literally walk back into the fjords to settle, paralleling Mononoke's insistence that an apparition cannot be dispelled until the original violence is reconstructed in full. The series treats Norwegian landscape and silence as repositories of the same buried testimonies the medicine seller's scrolls preserve.

Rulfo's Comala is a town entirely populated by murmuring dead, and a son must assemble their fragmentary voices to grasp his patrimony of cruelty, echoing the medicine seller's painstaking interrogation of haunted spaces. Both works propose that a place's ghosts speak in incomplete chords until a witness arranges them into the chronology that explains the present.

Han Kang renders a woman's refusal of meat as an exorcism of inherited domestic violence, narrated by three observers who each fail to grasp the form, truth, or reason of her transformation. As in Mononoke, the haunting is the body itself becoming an instrument that finally speaks the family's unspoken contract.

Recorded across the River Plate during Argentina's collapse, the album conjures candombe percussion and tango ghosts to indict a financial system devouring its own citizens. Like the medicine seller's scroll-bound spirits, each track personifies an economic injustice and refuses to release it until its name is spoken aloud.

Keita layers Mandé griot lineage over Parisian studio production to summon ancestors he was forbidden as an albino noble to address, performing the same naming ritual the medicine seller enacts on yokai. The album treats melody itself as the truth-stage of exorcism: only once the genealogy is sung can the singer step out from under its curse.

Co-produced through Hong Kong's Studio 4°C pipeline, the film stages a man's death and rebirth as a kaleidoscopic interrogation of every cowardice he carried, mirroring Mononoke's stylized visual flattening of psychological strata. Both works render existence as a scroll that must be unrolled, decoded, and reassembled before the protagonist can return to ordinary time.

This Sino-Japanese co-production strips the herbivore-carnivore divide down to a parable of inherited prejudice that two orphans must literally cross continents to dissolve, echoing the medicine seller's premise that hostility is unfinished story. The film's painted backgrounds function like Mononoke's washi-paper aesthetic, treating environment as evidence in the case being argued.