Text | Three thousand years old
Film is the art of combining sound and painting, and I have always been stubborn in its ideology.
That's why I like Bergman and Fellini. As a Japanese new wave director, Hiroshi Kawahara has made some philosophical films about freedom and the meaning of life.
Talking to everyone today about "The Lady of Sand", what amazes me is that the film was shot in 1964.
The director puts the characters in the sand dunes at the beginning, and the teacher looking for insects walks into nothingness step by step.
The mobile desert is photographed with the characteristics of water under the camera. One sand is a world. Sand is a huge social metaphor.
He collects insects in the glassware he carries with him out of his own interest, but he cannot extricate himself in a larger open air barrier.
Here, a man without a man has lived for many years, and when the rather normal order is interrupted by an unexpected visitor, the original nature will expand recklessly. This is a subversion or an anti-tradition. Being in prison can give birth to the original self. This is the proposition thrown by Hiroshi Kawahara.
To escape, or not to escape, that is the question. After successfully escaping the sand dunes, the unfamiliar teacher was caught in another quagmire. People spend their whole lives looking for the right answer, often backfired. All of this is a complete proposition about life.
The great thing about movies is the flow of skills in a closed environment, whether it is an artistic aesthetic level or a specific audio-visual language, it can be called superior.
A couple of nice closeups, long lasting and solid. The external world under this lens language is rich and blurred. You are the object of scrutiny while sitting on the sofa.
There is perseverance and perseverance in the deep eyes, more of a desire. Desire to get rid of bondage, the pursuit of freedom.
Under certain circumstances, people's selfish desires are like frank and exposed grains of sand, showing the most original self in the rough. Freedom has become confusing, and it can open the heart that has been imprisoned for a long time. There are also free frogs at the bottom of the well.
The insects that the teacher had been looking for for a long time were still found, and he fixed them with needles and made them into specimens for the world to see. Then, as a moving specimen, provide the ingredients for the selfish desires of others. At the end of the movie, the amplified desire is nakedly displayed to the people above the dunes as a condition for freedom.
The cinematic footage is commendable, and the close-up audiovisual language enhances the film's expressive desire. The infinitely magnified lens is like a wanton and crazy desire, together with the flowing sand dunes that are constantly coming in, one thing is changing and the other is growing, and the swaying of people is what is worth discussing.
A single grain of sand constitutes the smallest unit of a dune. We have a lot of helplessness, and the word "going with the flow" has many meanings. The crowd is surging and material desires are flowing, and the hurried forward pace cannot stand for a while. Born in the world, we are the smallest unit that constitutes a contradiction.
In one of the most exciting scenes in the movie, the teacher accidentally discovered a way to find water in the desert using the principle of capillary tubes, which can solve the problem of long-distance water transportation. I have been photographing sand, and now I finally got water.
The widow was accidentally pregnant and was sent away, and it was considered a passive escape from the dunes.
The teacher stayed, and in the outside world, he was a missing person. And in this pile of sand, perhaps, he found heaven.
I have this 35mm version in my collection, worthy of a great movie, not much.
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