Woman in the Dunes - Hiroshi Teshigahara - Hiroshi Segawa

Woman in the Dunes is one of the films that seems to have a hook in my mind. When I see owls, I think of Twin Peaks; when I see a rubber ball, I think of The Double Life of Veronique; and when I see sand, Woman in the Dunes springs into my mind and almost makes me break into a sweat. Sand is everywhere in this film. It takes up entire frames, covers the actors at all times and is present in almost every shot.

Teshigahara and Segawa show the power of the sand with one of the most striking visual styles I have seen. The compositions use scale and positioning as heavy symbolic devices to reinforce the existing themes.

As well as having wonderful visuals, this is also one of the best films I have seen. If existentialism is your thing, or you like Toru Takemitsu scores, watch it as soon as you can.

Top 3:

A great example of the symbolic framing which permeates the film. The man's only way out from the sand-pit leers above him menacingly, making him look insignificant.

This shot is right near the start on the film and kick-starts the theme of man's comparative powerlessness against nature. I love how there is no sky in this shot, only sand. This idea is continued throughout the film, lending the sand a kind of nightmarish omnipresence.

By now it will be obvious that I love shadowy frames. This is a great example which makes the woman look almost like a sand-dune.

The rest:

The sand looks like it is alive with snakes.

Because double-exposures are cool.

I love the lighting in this shot.

Another great shot showing the man's impotence against the elements.

Shots of the man with what looks like bars in the foreground are scattered throughout the film, reinforcing his entrapment.

With movement, the sand looks like water.

I always feel the need to take a shower after the film because of shots like this.

Wonderful low-key lighting.

Another of my favourite shots. I love how the light cuts across the frame.

That's okay, film, I wasn't planning on sleeping tonight anyway.