Suna no Onna (Woman in the Dunes) (1964)
Average Rating: 8.7/10
Reviews Counted: 24
Fresh: 24 | Rotten: 0
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Average Rating: 9.2/10
Critic Reviews: 6
Fresh: 6 | Rotten: 0
No consensus yet.
Average Rating: 4.3/5
User Ratings: 5,051
When entomologist Jumpei (Eiji Okada) travels to sand dunes on an expedition, he is met by a group of people who offer him a place to spend the night. They soon lead him to a house at the bottom of a sandpit. Upon climbing into the pit, he finds a young widow (Kyoko Kishida) living alone. Placed there by the villagers, her task is to dig sand out of the pit -- not only so that they can avoid getting buried, but so that the locals can use it for construction. The next morning, when Jumpei
Oct 25, 1964 Limited
Jan 4, 2000
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A bizarre film, distinguished not so much by Kobo Abe's rather obvious screenplay as by Teshigahara's arresting visual style of extreme depth of focus, immaculate detail, and graceful eroticism.
Teshigahara's direction and Segawa's camera-work often render the mundane startling and new, a claim that only good films can make.
In stunningly composed images by Teshigahara and cinematographer Hiroshi Segawa, that eroticism becomes overwhelming.
Woman in the Dunes remains a masterpiece, a timeless contemplation of life's essential mystery and a triumph of bold, innovative style.
Filmed with a palpable physicality that remains extraordinary.
Whether the grains are shown running like water or in super-large close-up, sand's rarely been this interesting.
An important contribution to the avant-garde, this existential thriller offers an allegorical take on the cruel and twisted universe in which we live.
As beguiling, enigmatic and timeless as the shifting sands, Teshigahara's finest film pulls the viewer in and refuses to let go.
If any piece of art-house cinema can be called an essential, this mesmerizing, haunting work can.
A popular art house film of the 1960s, this allegorical tale holds up extremely well, perhaps due to its hypnotic visuals and intense stylization. Hiroshi Teshigahara became the first Japanese filmmaker to be nominated for the Best Director Oscar
Woman in the Dunes shares its bloodstream with the likes of Sartre and Samuel Beckett in its existential bartering over the beginning and end of life.
It's an offbeat tale involving an erotic love affair and a philosophical question about the meaning of existence.
Teshigahara's creative background was in Japan's avant-garde arts scene, and there's a powerful expressiveness to the film's black-and-white cinematography.
Hiroshi Teshigahara's carefully constructed direction bring the characters to life in a way that makes us both sympathize and identify with their situation.
sensual camerawork that captures waves of sand more intimately than Lawrence of Arabia and lovingly wraps around the bodies of its protagonists.
Audience Reviews for Suna no Onna (Woman in the Dunes)
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