All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Woman in the Dunes
Haunting. Erotic. Unforgettable.
Jumpei Niki, a Tokyo based entomologist and educator, is in a poor seaside village collecting specimens of sand insects. As it is late in the day and as he has missed the last bus back to the city, some of the local villagers suggest that he spend the night there, they offering to find him a place to stay.
You know those times where you have to go to a party, family gathering or any other event that you really don't want to and there's no way to get out of it or escape? Woman in the Dunes is that situation, except this time you're the only one invited and instead of a nice, secure house you're stuck in a small hut surrounded by mountains of sand and limited supplies. It's brilliant.
The story follows Junpei, a school teacher who, from what I can make of it, is on a three day desert adventure to catch unique insects and escape from the irritations of his life. After some wonderful, sprawling shots of desert vistas, Junpei is soon found stuck…
Words haven't been coming for me lately. But I cannot stop thinking of this movie. It felt to me like I had traveled back in time and caught a late night transmission of some forgotten dystopian sf film on TV. I felt like I imagined my father feeling as he must have seeing 2001 for the first time. When he took Polaroids of himself and friends wrote on them, "Observe the stoner in his natural habitat. Note the glazed look on his face and complete disconnection from reality." Alone with an accumulating set of empty soda cans, I felt like something was happening to me. Everything in this film just sung straight to me. Through me.…
''Do you shovel to survive, or survive to shovel?''
Hiroshi Teshigahara's 1964 Woman in the Dunes; the centrepiece of a Triptych including 1962's Pitfall and 1966's The Face of Another is quite a work of genius. While it's visual language and unique setting is astonishing, it is allegorically and metaphorically equally as rich and demanding of analysis.
The plot involves Jumpei Niki, a Tokyo based entomologist and school teacher being entrapped by a group of villagers in a poor seaside town. He is cast into a pit of sand which houses a woman, who seems to exist to simply keep the sand from swallowing up her abode. When he discovers that he is in-fact imprisoned as a companion for the…
Hiroshi Teshigahara's Woman in the Dunes is, without a doubt, the best film I have watched all year. Originally based off Kōbō Abe’s novel of the same name, Woman in the Dunes tells the story of a man and a woman. The plot is simple. An entomologist, played to perfection by Eiji Okada, is locating insects on the sea of a poor village. He misses the last bus back to his city. He ends up spending the night with a local woman, played by Kyoko Kishida, at the recommendation of the villagers. Kishida was the weakest link of the film for me. She was nowhere near being bad, but her performance could not come close to Okada’s. When the man…
A pristine wonder of cinema from the opening title sequence all the way to its closing seconds. With a score that could haunt men with the highest composure and chilling cinematography and imagery that unpacks itself for an indefinite stay in your head, Teshigahara's MASTERPIECE Woman in the Dunes is film as close to its artistic peak as it can get.
The film is truly horrific though both the most straightforward and subtle ways, and it has the purest sense of tonal style ever captured by someone other than Andrei Tarkovsky. The scenes of the steep sand cliffs collapsing with a blast as well as the scenes of the sand slowly and ominously falling down the dune are spectacular shots…
"No, no, dig up, stupid." -- Chief Clancy Wiggum
This is one of those films that makes it clear why some people get scared of "classic film." Woman in the Dunes combines compression and dee focus with expertise while telling a horrific story about the destructive power of enslavement. Disorienting doesn't begin to explain it; the film combined powerful imagery, sickening subject matter, and a violent score to bring near nauseation.
With films like Woman in the Dune, I am reminded that the search for "universally" great films usually indicates that a film will be palatable to the public. Once I start digging below the sand, real thorny tiger beetles might wind up my sifted treasures. And, if our protagonist is to be believed, they might be just as valuable as any gold fleck.
Last year, I went all the way to Morocco to ride to a group of dunes on camelback. While the rest of my tour group was pretty enamored with the animals, I took a walk atop the dunes. With every step the sand shifted, tumbling down a slope that could vanish in a single strong wind. As I stood atop this mountain of sand watching the sun rise, I felt limitless. I felt at one with the earth and sky.
So I'm gonna try my best not to associate that with this film.
Teashigahara's best film is The Face of Another, but this metaphorical film about the plight of the modern man is worth watching.
Interesting way of portraying the human condition. Shows the passage of time without physically changing the characters or taking them out of their environment. The soundtrack marries film in such a way that it sounds as though it were naturally occurring. Leaves me with a strangely queasy feeling at the end.
La mujer de la arena.
Supone toda una experiencia única para el espectador.
Un hombre en busca de insectos se ve atrapado en una casa en medio del desierto, junto a una mujer. De la casa no puede salir y es cuando realmente comienza la experiencia de desasosiego tanto en el personaje como en el público.
la película contiene algunas imágenes de gran impacto visual.
Incredibly beautiful. Claustrophobic. And just a gorgeous, simple, terrifying premise that effortlessly raises a mirror up to society... lol. But really.
Sand. So much sand. Woman in the Dunes does an incredible job of capturing the beauty of the shifting dunes while never letting you forget that without constant effort, the sand will consume everything.
I can see why this has been hailed as a masterpiece, and there are plenty of things I loved about it. Firstly, the score - an experimental blend of dissonant strings and other unconventional noises that perfectly matches the uncomfortable atmosphere that the film conjures up. Visually, the almost post-apocalyptic feel that the bleak sands bring leads to some amazing images, and the use of light and darkness is amazing.
Unfortunately, I never quite felt like I was on the same wavelength, which resulted in quite…
Huh, wasn't expecting this to essentially be a tense, existential backwoods horror movie.
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…