

Midori(1992)
1992 · Hiroshi Harada · 55 min
After losing her parents, young flower selling Midori is put up by a fairground group. She is abused and forced to slavery, until the arrival of an enigmatic magician of short stature, who gives her hope for a better future.
Animation · Drama · Horror
6.0175 votes
TMDB score
5/5
Intensity
3/5
Gore
5/5
Stays with you
How Midori scares
It moves slowly and painfully, staying with small, quiet moments of cruelty rather than building to any big scary set piece. The dread comes from watching someone trapped and powerless, not from jump scares or monsters. Some scenes use strange, dreamlike animation to show inner pain, which can feel almost like body horror even though the real threat is human cruelty. This is not a fun watch or a thrill ride; it's heavy, sad, and hard to shake, meant for viewers who can handle deeply upsetting themes rather than anyone looking for cheap scares.
On The Horror Database's 0–5 scare profile, Midori rates psychological 5/5, visceral 3/5, gore 3/5, lingering effect 5/5, and overall intensity 5/5.
- Psychological: 5 of 5
- Visceral: 3 of 5
- Gore: 3 of 5
- Lingering: 5 of 5
- Intensity: 5 of 5
Slow burn vs Jump scares: 8 of 100 — leans Slow burn
Supernatural vs Real-world: 80 of 100 — leans Real-world
Fun-scary vs Disturbing: 95 of 100 — leans Disturbing
Intensity over runtime
Shape only — no eventsReveal pacing shapeHide pacing shapeHidden by default — shows where the tension peaks and lets up.
A grim, uneven crawl of quiet suffering punctuated by sudden jolts, building to a harrowing, unrelenting final stretch.
Intensity across the runtime, 0 to 100: 1, 2, 2, 3, 3, 2, 3, 4, 3, 4, 5, 5.
How scary is Midori?
On The Horror Database's 0–5 intensity scale, Midori rates 5/5 — one of the more punishing watches in the catalog, building its fear through slow-burn dread rather than shocks. The fear is mostly in your head — it unsettles far more than it assaults. Expect it to be moderately gory and genuinely disturbing. Expect it to stay with you for days.
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