Eiji Okada, Eisi Okada, Hiroko Ito

Symbolic parable about a man who wanders into a seaside village, where he falls into a deep sandpit at the bottom of which lives a beautiful woman. He falls in love with her, but the local villagers h...( read more  read more... )ave a strange purpose in keeping her down there -- and him as well as he soon finds out.

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92% liked it

4,033 ratings

Critics

100% liked it

14 critics

Unrated, 2 hrs. 3 min.

Directed by: Hiroshi Teshigahara

Release Date: October 25, 1964

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DVD Release Date: January 4, 2000

Stats: 279 reviews

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Flixster Reviews (279)


  • July 25, 2009
    There is enough symbolism here to keep a whole team of cinematic existentialists busy for months. At its core, it's a film about a man who gets trapped in a hole. Too simplistic? Probably. It's the story of an entomologist who gets captured by a group of villagers and is forc...( read more)ed to shovel sand along side the beautiful Kyoko Kishida (I could think of far worse fates). He spends most of his waking hours plotting his escape, but the longer he's there the more he feels obligated to his hole-mate. Is he falling in love? Is he learning the meaning of true freedom? Can he figure out a way to escape? Does he really want to? Is he an 'everyman' and the hole a representation of an oppressive society? Can I find a clever way to end this review?
  • July 14, 2009
    "are you shoveling to survive, or surviving to shovel?" one lead asks this of the other, and it is a telling question because it was the same question that circled my mind through the entire film up until the point it was asked. without question, woman in the dunes is one of th...( read more)e most unique pictures ever filmed, and its uniqueness brought with it brilliance. the plot is actually absurd and there are a few questions left unanswered, but teshigahara also made sure to answer the most important questions to make this outlandish story actually seem believable on every level. the acting was superb especially okada playing the lead, and the premise of this non horror film was more terrifying than just about any horror film ive ever seen. the cinematography was astounding, some of the best ive ever seen, and the film was effective in everything it attempted from start to finish. the music was also especially perfect for the film. the end of the film didnt go my way at all, but it wasnt supposed to. a genuine masterpiece of cinema.
  • January 23, 2009
    An entomologist, collecting specimens among some coastal sand dunes, is tricked by a group of villagers into spending the night at the house of a woman who lives at the bottom of a sand pit. Finding himself trapped by the steep, unstable sides of the pit, and at constant risk of ...( read more)inundation by the shifting dunes, the man is forced to help the woman shovel sand from around the house, not just to protect their shelter, but also in return for food and drink from the villagers, who market the sand as a construction material.

    The only thing I don't like about this marvellous film is the hero, who constantly evolves but only from one species of asshole to the next; he's just impossible to like. He starts off as a figure of fun, whose petulant behaviour is less a natural response to his loss of liberty than an intellectual's aversion to manual labour. Before resignation finally settles in, he comes to view his sweet and docile companion as complicit in his capture, making the most of nearly every opportunity to treat her abominably. The film is exquisitely photographed and some of the shots of cascading sand are hypnotically beautiful. The spooky avant-garde soundtrack is very effective.
  • October 28, 2008
    This darkly, beautiful and hypnotic tale works perfectly well if taken on a purely aesthetic level. The most immediate and striking thing about it is the look. Complimented by the minimalist soundtrack by Toru Takemitsu, Woman in the Dunes is a powerful piece of work with leisu...( read more)rely pacing that is not going to prove for all tastes.
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  • July 16, 2008
    Note: Hiroshi Teshigahara's "Woman in the Dunes" is an ultimate picture. An unparallel work of a genius.

    This remarkable film made me look at certain things differently. For cinema buff, not experiencing this story, its meaning is like for poetry lover not reading T. S. Eliot'...( read more)s "Waste Land" -

    something is definitely missing.
  • October 29, 2009
    Un homme est kidnappé par des villageois qui le forcent à vivre avec une femme dont la demeure est établie dans une fosse au milieu des dunes de sable. La prémisse est intrigante et donne effectivement lieu à un film étrange, profond sans être prétentieux et long sans être ennuya...( read more)nt. Un huis-clos angoissant aux thèmes existentialistes qui a de quoi donner des cauchemars.

    La relation entre le captif et la femme, qui est finalement aussi captive que lui, seulement d'une autre façon, est menée avec intelligence et ne verse jamais dans un érotisme de bas étage ou une étude psychologique facile. L'absurdité de leur situation (devoir pelleter chaque jour du sable pour ne pas être enterrés vivant) n'est pas même réellement dérangeante et le réalisateur en fait bon usage sans en abuser. Vraiment un film à voir.
  • October 18, 2009
    "Do you shovel to survive, or survive to shovel?".

    SUNA NO ONNA (1964)


    Director: Hiroshi Teshigahara
    Country: Japan
    Genre: Drama / Thriller
    Length: 147 minutes

    ...( read more)ms/ww125/ElCochran90/Decorated%20images/?action=view¤t=womaninthedunesrice.jpg" target="_blank">Photobucket

    After making some documentaries and short films, Hiroshi Teshigara managed to achieve popularity, respect and a good reputation when he directed his first three feature films, which were the most famous and admired ones. After his masterpiece Otoshiana (1962) allowed his name to be considered among the greatest Japanese filmmakers, his second film Suna no Onna allowed him to gain world recognition, since it is widely considered as his best movie and his most representative and iconic masterwork. Dealing with existentialist thematic elements and having a hypnotic direction and a thrillingly atmospheric pace, Suna no Onna had the talent of functioning as a deep reflection not only for Eastern audiences, but for worldwide audiences as well, cinematically speaking, thanks mainly to its unparalleled direction. Whereas samurai films and epic dramatic stories were predominant in Japanese cinema, Hiroshi Teshigahara explicitly portrayed his personal vision of the world and the meaning of life itself through his unique human and social commentaries since 1962, surpassing the genre of drama itself.

    This emotionally compelling thriller slowly narrates the story of an amateur entomologist that is collecting insects near the sea and meets with some local villagers that offer him their hospitality, taking him to a place literally located in a sandpit where a woman who constantly struggles to avoid her house being swallowed by advancing dunes lives. However, after he stays one day in her house and is ready to leave for the next day back to his homeland, he tries to get out of the dune without receiving any help from the villagers, finding out later that he has been forced to live with the woman until it may be necessary. As if this wasn't enough, his desperation and hopelessness gradually start to increase and the house starts to be slowly swallowed by the dunes, while the entomologist begins a bizarrely erotic relationship with her that is prolonged for several years. The film received an Academy Award nomination for Best Foreign Language Film in 1965, unfairly losing against Vittorio de Sica's inferior film Ieri, Oggi, Domani (1963), and another nomination for Best Director in 1966, losing against the harmoniously clichéd direction of Robert Wise for The Sound of Music (1965). The film also won the Jury Special Prize of the Cannes Film Festival in 1964, and was nominated for a Golden Palm.

    The beautiful screenplay elaborated by Kôbô Abe, who had also written the original novel, does fair justice to the caliber and power of the film, which entirely offers the desired and planned personal perspective of the screenwriter. Although it may not be an extensive and complex script, the imagery and symbolic meaning of this masterpiece totally make up for it. Suna no Onna speaks for itself. The simple plot is complemented by its complexity and symbolic meaning. The performances are decent overall, but the acting by Eiji Okada, who also starred in Hiroshima mon Amour (1959), is extraordinary. A character as complex as the entomologist Niki Jumpei is not an easy one to personify, specially because of the constant steady emotional downfall he has to go through, including the loss of hope while being trapped in a very different and infernal world that is heading towards an inevitable end.

    The cinematographic work of Hiroshi Segawa is impeccably spellbinding, and was also present in Teshigahara's best films, including Otoshiana (1962) and Tanin no Kao (1966). The camera work is very delicate and has some extraordinary shots, whether they show a vast desert or the tiniest and most delicate details of an insect, or of a woman's body. The editing was mysteriously interesting and strongly suggested a subliminal layer resting underneath the movie's surface. I owe a lot of respect towards the musical score, which seemed like nothing people had heard before. Although we are first introduced to a desolate, quiet and pacific desert with the beautiful and calm breeze of the sea, the musical score implies that the viewer is being introduced into a psychological thriller, which it is. Besides being very loud, it is eerie and intense, but thoroughly fascinating.

    Suna no Onna has a highly existentialist tone, and deals with humankind's loneliness, the acquisition of a more meaningful identity and the acceptance of a new life form that involves new responsibilities. The urban life of Niki Jumpei is never shown, and his love life with her wife briefly appears through flashbacks, making the allusion that the past life he had is about to be irrevocably modified in a supposedly permanent way, leaving his past far behind. The film and its sequences have a very symbolic meaning. The first direct idea that Suna no Onna portrays is the fact that life and existence are relative. While the character's urban life was abundant in useless monotony and lacked of any significant relevance and purpose, his boredom and emotional perdition was compensated by the relationship he had with his wife, but the despair he feels for being forced to assume a new identity against his will leads him to resort to the most basic human instinct and, ultimately, the most primitive pleasures, considering that the woman is not particularly beautiful in a stunning way.

    The amount of sexual content, as well as its graphic depiction, was rather unusual for its time in a similar way that the violent content featured in Kihachi Okamoto's Dai-bosatsu Tôge (1966) was for that decade. Instead of resorting to perversion, the eroticism of the film is very provocative and haunting, and yet, the feeling of psychological ruin is still present. The advancing dunes unconsciously symbolize the man's total submission to the unpredictability and cruelty of fate, just like the physical body submits itself to carnal pleasure, utterly devastating the soul. The most outstanding honor the man could receive, according to his words, is to discover a new kind of insect and publishing it, making his name famous. This aspect is what remarkably emphasizes his need of a recognizable identity, worshipping that illusion over any other priority of life. The irony is born from how such little living things can have a big importance for him, and this is the same irony that suggests how life is composed by little daily miracles, from the fact that we are alive to the sun rising from the east.

    Suna no Onna is an unforgettable cinematic view on the dependence of man towards our most primitive reactions and to what extent we decide to become close-minded in order to avoid the relativity of life and the subjectivity of existence. A considerably important epiphany is revealed at the end, which is strengthened by the discovery of water, dividing audiences into two categories: the ones that were overwhelmed by its oddity, and the ones that predicted it and/or considered it reasonable and obvious. I belong to the second category, and without that kind of conclusion, the new direction that the film could have taken would have caused it to lose its main point. A hypnotizing thriller, this film belongs to the best dramas ever conceived.

    100/100
  • September 4, 2009
    Two and a half hours of a couple in a hole digging sand. Mostly. It doesn't sound much of a plot, but your brain can use the slow pace to fill in the gaps (why is she there? why is he there? why do the villagers put them there? what's going to happen next?) it's a lot more intere...( read more)sting than it sounds.
  • August 29, 2009
    Wow. This movie is one of the most interesting horror/psychological thrillers I've ever seen. Nothing compares- the concept is just brilliant! I think I'm going to have nightmares involving sand for a longtime to come!
  • July 7, 2009
    Woman in the Dunes was a very unique little yarn. I've never seen anything quite like it. I don't think it's a masterpiece, but I want to see more by the director.

Critic Reviews


January 1, 2000
Roger Ebert, Chicago Sun-Times

More 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. full review

View more Suna no Onna (Woman in the Dunes) reviews at RottenTomatoes.com

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  • For what famous film was this the final uttered line of dialogue or narration (translated into subtitles or not)? :"If not today, then tomorrow, I will have told someone. I can think about escaping after that."   Answer »

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