PimpinAinttEasy Dear Hiroshi Teshigahara, Woman in the Dunes was awash with this uniquely hypnotic and claustrophobic aura. The film can be enjoyed for the visual experience alone. The first few scenes with the man walking across the desert was enough to hook me in completely. Toru Takemitsu's dissonant score is used throughout the film to create this paranoid and horrifying atmosphere. I wish you had used a more traditional score. The main narrative is interwoven with visuals of sand trickling down and mountains crumbling which creates a really eerie effect. The interactions between the man and the woman inside the closed space of the hut reminded me of this quote by Christopher Isherwood from his novel The Single Man: "Think of two people, living together day after day, year after year, in this small space, standing elbow to elbow cooking at the same small stove, squeezing past each other on the narrow stairs, shaving in front of the same small bathroom mirror, constantly jogging, jostling, bumping against each other's bodies by mistake or on purpose, sensually, aggressively, awkwardly, impatiently, in rage or in love – think what deep though invisible tracks they must leave, everywhere, behind them!"The close ups of their bodies and the shots from behind the naked body of the woman were used to emphasize the intimate and erotic nature of their relationship. The outdoor scenes, especially the ones in the pitch dark of the night were haunting. Some writers of noir flicks could conjure up some interesting ideas based on those visuals. Best Regards, Pimpin. (8/10)

ilyas Kutlu Search pest belongs in the scene where the sands are starting to film a Entomologist . The atmosphere used and the background music heard is causing us to have a slight tension. Employees to take the strain of search in a kayak sand embedded in Entomologist Niki Jumpei ( Eiji Okada) who recently met with one of the village. I also invite the aliens by shooting from a late return time to the village . Unbeknownst to steps taken by the new life waiting in the depths of the land of endless sand will take him to a dark world. The film begins after what I tell you , I hope that this part of the event, which we handle in-depth examination of... participate. Have a good time ...

PassPopcorn Woman in the dunes is a great step in Japanese cinematography because Teshigahara, the movie's director, was the first Japanese director to be nominated for an Oscar - and it is truly amazing that, back in 1964, the members of the Academy of Motion Picture Arts and Sciences were able to realize the greatness of this movie.It all starts with the entomologist Niki Jumpei (Eiji Okada), alone, walking in the desert, looking for insects. No dialogue, just beautiful cinematography and games of light and shadow. He is invited by the local villagers to spend the night in the home of a widow (Kyôko Kishida), at the bottom of a sandpit, since he has missed the last bus to the city. This does not upset him, he's interested in their way of life, therefore he accepts. But the next morning he discovers the villagers trapped him - just like he traps his beloved insects - and expect him to live with the woman and help her collect the sand daily, receiving food and water in return. So he tries to escape this claustrophobic environment.Where should I begin? This movie has "masterpiece" written all over it. The two main (and almost only) characters are at the same time opposite and similar - opposite in their reaction to the imprisonment, similar in their loneliness and pointlessness of lives that they cherish nonetheless. Okada and Kishida put up amazing performances which make you forget they're just acting. But perhaps the true protagonist is the sand: the dangerous, devastating force that brings purpose to those who have learned to handle and make good use of it. A lot of scenes in the movie show it moving, changing, and always remaining the same, and they are never out of place. It dictates the lives of the people, and one is forced to love it in a perverted, Stockholm syndrome-sque kind of way, just like the widow does even after the sand has killed her husband and daughter. To make the movie fit its gloomy story even better, it was filmed in natural light; also, a lot of important things happen at night (for example, an attempt to escape) and even though you can hardly see anything, you know exactly what's going on. This creepy atmosphere is perfected by what's probably one of the best soundtracks of all time (composed by Toru Takemitsu), since it suits the picture incredibly well, making you feel uncomfortable and scared from the first minutes. And, as a conclusion, there is a sentence, said by the entomologist towards the end of the movie, which, in my opinion, sums up its message: We're pigs anyway. Simple yet powerful, just like everything else in Woman in the dunes.Rating: 9/10 Read more at http://passpopcorn.wordpress.com/

MauveMouse Suna no onna is a splendidly profound minimalistic odyssey, a spiralling journey towards the core of oneself, towards an inner paradise, the ultimate Eden-oasis (suggested by the discovery of a new water source, and implicitly a new life, in the depths of the dunes); the ending is not a capitulation, it is finding the right balance and a path to be at peace and free, freedom that comes from within; the constraints, first those of the urbanistic web with its bureaucratic chains from which Niki Jumpei tries to escape through surrogate passions (entomology, photography) and then the natural ones, with the dunes acting like a hungry ghost's mouth wanting to devour its inhabitants, haunt our Ulysses on his inner sea peregrination, luring him with the woman, like a siren with her spectral body floating between the wavy dunes, and finally force him to face himself and ultimately to make a choice and gain a meaning of his life, paradoxically, beyond any pressure and coercion; the score is gorgeous and abrasive as the sand of the desert, working in perfect harmony with the both dreamy and sharp geometry of the images