A boy comes across a rabbit, guardian of a magical brush to prevent the Yamata no Orochi from re-emerging in the modern world.

Special effects modelmaker Kenzo Tokimiya has passed away.  Akari, who did not have good memories of her grandfather's work, visits a farewell party for his fans with mixed feelings. There, she meets her classmate Takuya, a hardcore tokusatsu fan.  Akari and Takuya meet a young man named Hozumi, who was going to be in the movie Brush of the God that Kenzo was going to make. This comes as a surprise to Akari, since this is the first she has heard that her grandfather was involved in such a production.  Hozumi picks up a brush, a prop from the Brush of the God exhibit, and draws a circle in the air.

"Please save his world!"

With Hozumi's words, Akari and Takuya are swallowed by the wormhole that suddenly appears. The next thing they know, they have entered the world of the movie Brush of the God, greeted by the terrible visage of the kaiju Yamata no Orochi, which is not supposed to be in the movie, trying to burn everything in this world.  In order to get back to the original world, the two must unravel the secret of the movie Brush of the God that Kenzo was supposed to make.

"Master artisan Keizo Murase, known for his suit designs and sculptures, has crafted memorable monster costumes for many titles in the GODZILLA, GAMERA, DAIMAJIN, KAMEN RIDER and ULTRAMAN franchises. At the age of 88, Murase completed his first feature film as a director, BRUSH OF THE GOD, and “it’s truly something special. The kaiju scenes are of course a joy, done in the classic style that Murase himself was vital in defining. More than that, however, BRUSH OF THE GOD is generously self-referential, a venerable master’s reflection on his extensive legacy, and his expression of hope that the magic of kaiju eiga will live on, today and in the years to come.” – Rupert Bottenberg, Fantasia Film Festival

"An enchanting ode to the power of creativity and imagination. Murase wanted to leave behind a marker that he was here and that his work mattered, and the creature work here is very impressive, evoking the best of the classic Showa era tokusatsu films that first enamored audiences in the ‘60s and ‘70s.” - J Hurtado, Screen Anarchy