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.
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.…
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…
''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 film had an interesting premise, but I felt that it was marred by its running time. There are scenes that could be condensed. If this film was about 30 minutes shorter, it would've been much better.
score was good. extremely drawn out
Read the original novel in Japanese and watched this film in my Literature class. Amazed by how faithful this adaptation was to the book. The music and cinematography is A++++
Sometimes, a film leaves me with memories of other films, rather than concrete thoughts on what I've just seen. Woman in the Dunes reminded me of L'eclisse in its progression toward increasing existential angst, and its confounding final frames. What starts as an entertaining lark about a man trying to escape from some crazies, turns increasingly sinister. In this way, it also reminds me of The Wicker Man.
A reflection on the absurdity of human existence, struggle and legacy.
This film will leave you feeling disturbed to your core. The ending is completely predictable, and yet its consequences are so disturbing that it does not lose impact from this. Even now, the movie chills me.
Slow paced and methodical, with sudden bursts of energy. The dialogue is sometimes sparse, sometimes thick, but always economical. I didn't feel like any lines of the film were superfluous.
Cinematically the film is extremely engaging, the tension is often screwed tight to breaking point. The camera work and lighting are superb, with un-self-conscious touches of the noir used appropriately and without pretension. The soundtrack backs up this work, often content to allow…
Film #18 of the Scavenger Hunt Challenge!
Task #12 A film from your birth year!
Sands shift, perspectives change, and we wonder "is it really worth it? How much can we fight for something before we decide to give in and accept our lot? How much can we control our fate? Or do we just learn to live with it?"
A combination of sensitive eroticism and eerie hostage situation gives the film a haunting and surreal quality.
I'll definitely have to revisit this film on some later date, because there's a ton to parse here and I easily could have missed something that would make me feel better about the ending.
The first 2 hours of Woman in the Dunes have incredible power and ingenuity. They show both innovation and technical mastery, and it all culminates in a scene that's profoundly unsettling in a way that I've rarely ever seen or am likely to see again.
For the first 2 hours, Woman in the Dunes is quite simply one of the best movies I've ever seen. It's minimalistic, but raises grand philosophical and social questions. It's grimy, stark, and disturbing, both in its imagery, which is unlike…
It's tough to write up something on this movie without coming close to creating something that could be mistaken for a novella. There are so many angles. So many facets. So many possible analogous interpretations. This is a movie that I yearn to become an expert on. Eiji Okada's leading man studies bugs. Why bugs? Is it because of their fragility? The fact that they're possibly the only sub-genre of "animal" that retains consciousness, yet no one has a problem disposing of? Bugs have a certain disposability, despite their consciousness, and I believe one of the many truths filmmaker Hiroshi Teshigahara is attempting to dig at with Woman in the Dunes is the disposability of man.
But along with showering…
[Watched in an arthouse cinema as a part of their Painting with Film theme in conjunction with Last Year at Marienbad.] [35mm]
God, the sand in this picture moves with such fluidity that it's practically interchangeable with water. The waterfall of sand is both majestic and terrifying.
Woman in the Dunes is a delicious blend of nightmarish, mesmerizing, & erotic elements and slow-dripped like Vietnamese coffee. Vietnamese coffee in particular because of its initial sweetness and distinct bittersweet aftertaste, not to mention potency and lingering flavour. (Also, Vietnamese coffee is the bomb.)
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…