Casshern (キャシャーン, Kyashān) is a 2004 Japanese tokusatsu superhero film adaptation of the anime series of the same name, written, directed, shot and edited by Kazuaki Kiriya.

A lightning bolt strikes the facility and stimulates the Neo Cells, causing the limbs and organs to restructure into humans.

It is revealed the people of Zone Seven aren't terrorists at all, but have been slaughtered for decades because of the government's discriminatory policies.

Fighting Barashin has caused Tetsuya to lose Luna, who escaped with a non-verbal Neo-sapien and eventually found her way to a train full of captured villagers from Zone Seven.

It simply rejoined the body parts that were harvested from the victims of Zone Seven after being struck by the stone lightning bolt.

As they talk, the stone lightning bolt crumbles and Casshern appears to fall from the sky into the laboratory, which is now in ruins.

Burai arrives with an airship and abducts Luna, Casshern and the dying Neo-Sapien, leaving a now fatally wounded Naito, Dr. Azuma and General Kamijo's son alone.

Casshern uses all his strength to stop the machine, although it still detonates, albeit away from any urban or heavily populated area.

Luna rips out Tetsuya's containment suit and a pillar of light fires through space and crashing down onto another planet.

Along with contemporary films Able Edwards, Sky Captain and the World of Tomorrow, Immortal, and Sin City, it was among the first feature-length live action films to be shot on a digital backlot, with the actors performing in front of a greenscreen and all but the simplest stage elements added digitally after the fact.

As well as being influenced by Shakespeare's Hamlet, director Kazuaki Kiriya states that he drew upon Russian Avant-Garde for visual inspiration.

[2] The film's look was achieved through a combination of means, from CGI (supervised by Haruhiko Shono), matte paintings to even Kiriya's heavy involvement with the cinematography.

The theme song, "Dareka no Negai ga Kanau Koro", was written and sung by the director's then-wife, pop singer Hikaru Utada.

[6] Variety reviewer Derek Elley notes that while not entirely original in its content, its execution and inventiveness are impressive.

On several occasions they are lacking entirely; when they do appear they often completely differ from the dialogue or oversimplify it to such a degree that key plot elements and the overall force of the story are diminished.