Oh yes! I'ven't seen anything else by Teshigahara, but I did get to see Woman in the Dunes as a double feature at a local theatre with Kurosawa's High and Low. Honestly, I love Kurosawa, but you needn't see his movies on the big screen all that often, at least, all of the movies of his I've seen on the big screen (Seven Samurai, Ikiru, Rashomon, and High and Low) did not benefit from it. I'd imagine his color and widescreen movies like Ran and Kagemusha would be great. But Woman in the Dunes on the big screen was just profound. The sand looked compelling and gorgeous, mysterious and powerful, and terrifying. And you're right, his escape feels more thrilling than cinematic Auschwitz escapes, though I think a large part of that is that the surreal situation he finds himself in means it's hard to understand what's going on and how this world operates, so the unknown danger he's in (as opposed to the well-known danger of the camps) is part of the thrill. --DiB
Endless possibilities indeed, which is why I don't want to touch it. Wouldn't know where to begin. Thanks. Japanese film is uncanny. I can never really describe what it is exactly that I see in it, though I've tried many times. --PolarisDiB
Animation, eh? List me up with some animation you like if you're wanting to study it. Animation is like one of those untouchables for me, I love it but don't want to get my hands near it for fear of destroying everything I love about it. --DiB
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