Based on the historical Italian Jesuit Giuseppe Chiara, who did travel to Japan, was captured, apostatized under torture, and lived out his life in Japan. The film follows the novel's depiction closely.

A character from Shūsaku Endō's novel. While based on the fact that Chiara had companions, Garupe's specific character, actions, and fate are fictional creations for the narrative.

Ferreira was a real, high-ranking Portuguese Jesuit missionary in Japan who famously apostatized under torture ("ana-tsurushi") in 1633 and subsequently worked for the Japanese authorities.

Inoue Masashige was the historical Grand Councilor (Ōmetsuke) and Magistrate of Nagasaki responsible for overseeing the suppression of Christianity in the mid-17th century, known for psychological methods.

A central fictional character from Endō's novel, representing the complexities and failures of faith under extreme duress. He is not based on a specific historical person.

A fictional character from the novel representing the leadership and faith within the hidden Christian communities ("Kakure Kirishitan").

Jesuits established a significant mission in Japan starting in the mid-16th century, converting many Japanese before facing suppression.

The Tokugawa shogunate implemented increasingly severe measures to eradicate Christianity from the early 17th century onwards, fearing foreign influence and social disruption ("Sakoku" period).

Based on Giuseppe Chiara's actual journey to Japan in 1643 seeking Ferreira. Specific events and companions are drawn from the novel.

Despite persecution, communities of Japanese Christians survived in secret for centuries, practicing unique forms of their faith, accurately reflected in the film's depiction of villages like Tomogi.

The fumi-e, requiring suspected Christians to tread on images of Christ or Mary, was a standard method used by authorities to identify believers, accurately depicted.

These methods were historically used against Christians in Japan. "Ana-tsurushi" (hanging upside down in a pit) was particularly effective in inducing apostasy, including Ferreira's.

Giuseppe Chiara was captured shortly after arriving in Japan.

Garupe is a fictional character from the novel; his specific death scene, while dramatically potent, did not happen historically.

Based on historical records of interrogations and theological debates between captured priests and Japanese officials, but the specific dialogue comes from Endō's novel.

Ferreira did apostatize under torture and later lived in Japan, marrying a Japanese woman, adopting a Japanese name (Sawano Chūan), and assisting authorities in identifying Christian texts/believers.

Giuseppe Chiara did eventually apostatize by trampling the fumi-e after enduring torture and witnessing the suffering of others.

Chiara lived under supervision in Edo (Tokyo) until his death, adopting a Japanese name (Okamoto San'emon) and marrying a Japanese woman, similar to Ferreira.

The film's ending implies Rodrigues/Chiara secretly maintained his faith (holding a small cross). This is speculation based on the novel's ambiguity; historical evidence is inconclusive.

While a theological interpretation central to the novel, the film effectively portrays the profound crisis of faith experienced by missionaries and converts facing seemingly unanswered suffering.

The film is accurately set during the period of intense Christian persecution under the isolationist policies of the Tokugawa Shogunate.

Filmed primarily in Taiwan, the locations effectively evoke the rugged coastal landscapes and village settings of Southwestern Japan where Christianity persisted.

The style of peasant dwellings, official residences, and prison settings appears consistent with Japanese architecture of the period.

Clothing for different social classes in Japan, as well as the attire of the European Jesuit priests, appears accurately researched and rendered for the 17th century.

The ritualized process of forcing suspected Christians to step on sacred images is portrayed accurately based on historical descriptions.

The physical details and psychological impact of specific torture methods like "ana-tsurushi" (the pit) and water crucifixion align with historical accounts.

The film accurately portrays the power structure, with samurai officials like the Inquisitor holding absolute authority over peasants and captured foreigners.

The often harsh and imposing natural environment (sea, rain, fog, mountains) is used effectively to underscore the characters' isolation and suffering, fitting the historical setting.

The film successfully conveys the pervasive atmosphere of fear, the need for secrecy among hidden Christians, and the constant threat of betrayal and discovery under the oppressive regime.