Onibaba Quotes

Dejon 2022-04-23 07:05:20

My favorite scene is when the daughter-in-law takes off a ghost mask for her mother-in-law. The camera switches from mid-ground to close-up. The hard and soft light is constantly changing on the faces of the two people. It is a progression with a sense of hierarchy. When the camera freezes on two similar faces, one ghost mask, the other ghost-like face, it is terrifying, so in the face of the most primitive needs of human beings, no one is spared.

Marquis 2022-04-22 07:01:55

In the first action at the beginning of the film, the mother-in-law and daughter-in-law cooperate closely in their actions, and the movements are also the same. What comes is still the oneness of lying down in parallel. But after the return of Xiaoba, the character settings have changed. Although the two camps are still divided into the front and the background, the stick in the middle has obviously become a wedge for the three people, and then to the riverside section, the daughter-in-law has become the center. The focus of the painting, Xiao Ba enters the painting from the left, and officially competes for the daughter-in-law. In the subsequent dialogue between the mother-in-law and the daughter-in-law, there is a positive and negative fight between the two for the first time. By this time, the split has become an established fact. Kanto Shindo handles formalism with ease. The more experimental "Nude Island" is the representative. When shooting horror films, he is very fascinated by the use of light and shadow. The horror of Kurosawa's "Spider's Nest City" later is derived from In this film, Kanto Shindo even lowered the camera angle layer by layer in order to increase the sense of fear, in order to express the horror of his daughter-in-law meeting a ghost. The slow motion of the reeds at the back has also become an almost poetic image of fear, and the lighting is even more of a masterpiece.