
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. That place is the home of a young woman, whose house is located at the bottom of a sand pit accessible only by ladder. He later learns that the woman's husband and child di... (Full plot summary below)
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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. That place is the home of a young woman, whose house is located at the bottom of a sand pit accessible only by ladder. He later learns that the woman's husband and child died in a sandstorm, their undiscovered bodies buried somewhere near the house. The next morning as he tries to leave, he finds that the ladder is gone - he realizing that the ladder he climbed down was a rope ladder which is anchored above the pit - meaning that he is trapped with the young woman as the walls of the pit are sand with no grip. He also realizes that this entrapment was the villagers and the young woman's plan for him to stay there permanently to be her helper in the never-ending task of digging out the sand, which if not done will swallow them alive. They are dependent upon the villagers to help remove the sand, but also for their rations including water. He learns that the sand is the young woman's life, and that she knows or wants no other life. Thus, it is no use either to blackmail or kill her as she is willing to live and die by this life, and as such he will surely die if she is dead. His life tasks become to figure out a way to escape while co-exist with the woman in what he considers their prison. As time goes on, he also learns that there are other tasks which will consume him.
Leave your thoughts about Woman in the Dunes.
| Chicago ReaderDon DrukerA 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. |
| Chicago TribuneMichael WilmingtonIn stunningly composed images by Teshigahara and cinematographer Hiroshi Segawa, that eroticism becomes overwhelming. |
| Chicago Sun-TimesRoger EbertMore than almost any other film I can think of, Woman in the Dunes' uses visuals to create a tangible texture -- of sand, of skin, of water seeping into sand and changing its nature. |
| Eye for FilmAnton BitelAs beguiling, enigmatic and timeless as the shifting sands, Teshigahara's finest film pulls the viewer in and refuses to let go. |
| Los Angeles TimesKevin ThomasWoman in the Dunes remains a masterpiece, a timeless contemplation of life's essential mystery and a triumph of bold, innovative style. |
| CraveOnlineWitney Seibold'Woman in the Dunes' is much more than a sumptuous visual experience. It is also a supremely unnerving fable of deterioration and purgatorial breakdown. |
| Independent on SundayJonathan RomneyThe couple's grimly inescapable dilemma becomes hugely complex and terrifyingly resonant -- a sexualised version of the Sisyphus myth, recounted with a distinct touch of Buñuelian absurdism. |
| EmanuelLevy.ComEmanuel LevyA 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 |
| Film4Jamie RussellAn important contribution to the avant-garde, this existential thriller offers an allegorical take on the cruel and twisted universe in which we live. |
| CinemaniaDan JardineA promotional video for the Albert Camus Summer Camp |