but he refuses to open the door and she is assaulted. That evening, when soldiers come to arrest her, she flees into the nearby forest. In the wilderness, she finally makes a pact with the spirit, who reveals himself to be the Devil. She is granted magical powers, and returns to find the village has been infected with the bubonic plague. Jeanne uses her powers to create a cure for the disease, and the village flocks to her for aid. Having won their favor, Jeanne presides over orgiastic rites among the villagers. A page, who falls in love with the baron's wife, begs Jeanne to help him seduce her. She gives him a love potion that causes the baron's wife to accept his advances, but the baron catches his wife sleeping with the page and kills them both. Perturbed by Jeanne's power, the baron sends Jean to invite her to a meeting. The couple reconciled, and Jeanne accepts the invitation. In exchange for sharing her cure for the plague, the baron offers to make Jeanne the second-highest noble in the land, but she refuses, saying she wishes to take over the entire world. Angered at her refusal, the baron orders Jeanne burnt at the stake. Jean is killed by the baron's soldiers when he tries to retaliate, which angers the villagers. As Jeanne is burned, the faces of the villagers transform into Jeanne's, fulfilling a priest's warning that if a witch is burnt while her pride is intact, the evil in her soul will survive and spread to influence everyone around her. Centuries later, the influence of Jeanne's spirit initiates The French Revolution. Cast Aiko Nagayama as Jeanne Katsutaka Ito as Jean Tatsuya Nakadai as the Devil Masaya Takahashi as Milord Shigako Shimegi as Milady Masakane Yonekura as Catholic Priest Chinatsu Nakayama as Narrator Production and release Directed and co-written by Eiichi Yamamoto and inspired by Jules Michelet's 1862 non-fiction book La Sorcière. It is the only film in the Animerama trilogy to have been neither written or co-directed by Osamu Tezuka (he left during the film's early stages in 1971 to concentrate on his manga, and his conceptual-stage contribution is uncredited). Belladonna is also of a more serious tone than the more comedic first two Animerama films. According to Jason DeMarco of Paste Magazine, its visuals consist mostly of still paintings panned across "with occasional expressive bursts of color