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Kvinnan i sanden

Suna no onna

Regisserad av Hiroshi Teshigahara
Japan, 1964
Drama, Thriller


En amatörentomolog lämnar Tokyo för att studera en oklassificerad skalbagge som finns i en enorm öken. När han missar sin buss tillbaka till staden, övertalas han att tillbringa natten med en ung änka i hennes koja vid en sanddyn, som hela tiden tvingas rensa sand som hotar att dränka den.

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Kvinnan i sanden Regisserad av Hiroshi Teshigahara

Utmärkelser & festivaler

Cannes Film Festival

1964 | Vinnare: Jury Special Prize

Academy Awards

1966 | Nominerad: Best Director

1965 | Nominerad: Best Foreign Language Film

Kinema Junpo Awards

1965 | 2 priser

It isn’t an essay film or an ideological treatise, but a labyrinthine work of jet-black humor, which is anchored by the arrogant presumptions of the teacher.
August 25, 2016
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The feature film Woman in the Dunes, his 1964 collaboration with novelist-playwright-scenarist Kobo Abe, stands at the high point of [Teshigahara’s] filmmaking career and constitutes the most eloquent of his several works with Abe. Using the textures of his pottery and the grand scale of his floral constructions, Teshigahara brings to Abe’s text the full force of his nonverbal artistry of chiaroscuro, of shapes and surfaces, of speed and languor.
July 09, 2007
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Of course, the young woman comments – in what may well be the great one-liner of Japanese cinema – “this place isn’t as interesting as Tokyo.” Yet for the purposes of the film it is, far more interesting, and the 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.
July 17, 2004
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Vad säger folk?

  • dionysus67's rating of the film Kvinnan i sanden

    In line with the perspective of the entomologist who gets trapped and eventually surrenders himself inside a sand pit, Teshigahara's extreme close-ups traverse the entire gamut of shots and culminate in extreme long shots, that decenter a humanist perspective, which Japanese modernity in cinema struggled vainly to retain. Extremely sensual and astonishingly photographed, it's no wonder that it inspired Tarkovsky.

  • Stian Gledje Bekkvik's rating of the film Kvinnan i sanden

    The painfully simple plot and awkwardly blatant symbols are about as elegant as a toilet, yet about as essential as one... And the photography polishes this piece of shit into about the most precious gemstone I've seen...

  • Henri de Corinth's rating of the film Kvinnan i sanden

    Rewatch of a 35mm print curated by Virginia Dwan. What can one's justifiably a classic and everything you admired about it back in college still works today. Narratively and thematically, I think Abe's novella is better at conveying the characters' thoughts and emotions. But as far as straight-up emotional imagery is concerned, the film is a technical masterpiece, even if it belabors that imagery at times.

  • Duncan Gray's rating of the film Kvinnan i sanden

    Life as a pit of sand, from which there is no rescue, only consolation prizes, managed expectations, and sex on the side. This film grew from a 4 to a 5 while I slept—it's some sort of beauty, a claustrophobic thriller and an absurd allegory for life in a pitiless, irrational society that Kafka would have been proud to call his own. Weird trivia note: the Academy nominated it for Best Director! It was another time.

  • João Eça's rating of the film Kvinnan i sanden

    Philosophical parable with platonic resonance that culminates with a cruel affirmation of egotistic individualism. Before Shyamalan made the insignificant "The Village", Teshigahara had already delved into the territory of the individual's limited perception of the world and the way that affects his will to survive, his desires and his morality. The desert as the wild, dry territory where animality comes to surface.

  • Spiritchaser's rating of the film Kvinnan i sanden

    Woman in the dunes stands in between classic japanese cinema (ozu,mizo,kuro) and post modern japanese cinema. As such, critics cannot reference this film to any other. In the 60s, violence and sex were appearing on japanese screens. Dismissed as a cheap erotica movie, this film has been neglected by many. Camus would be proud of this.

  • Cojocariu Claudia's rating of the film Kvinnan i sanden

    I've recently discovered the great Hiroshi Teshigahara, his texture of water drops, skin and sand, hair and hope. The film is frightful because of the story, yet sublime because of this complicated "relationship" between man and nature. The character is not only a scared "tenant" of the dunes but his struggles and emotions are entirely swallowed by a holy "sandfall" - a metaphor. Marvel construction of motifs!

  • Harry Rossi's rating of the film Kvinnan i sanden

    Sand, sex and dread. Loved it. It's images were absolutely stunning, some of the best black and white cinematography I've ever seen. This is a perfect example of sounds and visuals working together to create a unique atmosphere and feeling, one that ended up being quite unsettling. The film felt like I was diving into a kind of primordial consciousness. A haunting experience that is truly unforgettable.

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