The University of Wisconsin Cinematheque's fall lineup of foreign films opened this weekend with "Ugetsu Monogatari," the first in a series titled "Distant Observer" that features the canonical work of Japanese director Kenji Mizuguchi.

The 1953 classic, which translates as "Tales of Rain and Moonlight," is based on two short stories by 19th century author Akinari Ueda. It tells the tale of two village couples caught in the chaos of a political-territorial war in 16th century feudal Japan, and the film exposes the perils of zealous, blind ambition.

The two husbands are consumed by their respective fantasies of exploiting the war for business and becoming an "honorable" samurai, ignoring the practical pleas of their wives and the foreboding warnings of several passersby. Their ambition leads to madness as the film builds on its realist relationship focus with elements of traditional Japanese ghost stories, ultimately ending with the two converging in somewhat of a "twist" ending.

Beyond the anti-war themes, Mizuguchi explores the desperate, primal state men can revert to, and the film simultaneously is a masterfully executed tale of the undoing of avarice. "Ugetsu" emphasizes above all else the importance of remembering and protecting what's dear to you — for if you don't, it will be lost.

In many ways, "Ugetsu Monogatari" is surprising for its era. The cinematography is smart and clean, with several shots that seem ahead of their time, balancing flair with realism. Mizuguchi creates an engrossing picture of feudal Japan with a fitting score, costume design and set, and musical variations are subtly used to further develop the story and theme. The plot is nonlinear, diverging into separate stories of the four main characters, and it delves deep into the husbands' fantasies and delirium, though the audience is initially unaware of a false reality.

Perhaps the most striking aspect to a contemporary audience is the focus placed on the women in "Ugetsu." The wives are the only consistently rational characters throughout the entire movie. At several points they directly denounce their husbands' foolishness and selfishness, a move seen as unthinkable for women in feudal Japan, and a rare rebellion even for the 1950s. It was a brazen and praiseworthy decision by director Mizuguchi to include such moments, and the feminist themes continue throughout his body of work.

Even if you missed "Ugetsu Monogatari" (which is available at Four Star Video Heaven just off State Street), the Cinematheque will be showing a series of Mizuguchi's films through the semester program — missing another would be a travesty.

Aside from the Mizuguchi series, the fall season includes a post-1968 series of films by French director Jean-Luc Godard, a Russian sci-fi series, the Polish Film Festival and films by Indian director Satyajit Ray, among many others, which are shown weekends in Room 4070 in Vilas Hall, 821 University Ave.

Best yet, it's all free, so go out and culture yourself a little. Detailed information about the films and their show times can be found at the Cinematheque's website at cinema.wisc.edu.