I like the storyline of this show,it attract me so much

Such a frustrating disappointment

Just what I expected

everything you have heard about this movie is true.

So this is what usually happens when you want to study sand species of Coleoptera on the field! Anyway, the movie is pure genius. It's the most claustrophobia and paranoia-inducing movie I've ever seen! Sand is the main symbol and catalyst for everything that's happening here. As the movie begins, we can see a zoomed image of an individual particle of sand grain, several of them and then entire sand dunes; sand may be a symbol for continuity, repetition, infinity. An eerie movie about human emotions, human existence and the effects of total isolation... the fragile balance between sanity and... insanity. I somehow feel that this movie affected my subconscious... and I feel dehydrated! A mistake I noticed (that really doesn't matter): that's not an ash beetle (Buprestidae family) he's talking about, but a tiger beetle from the Cicindelinae subfamily (notice the powerful mandibles). An entomologist should know the difference!

The title of Kōbō Abe's 1962 enigmatic novel "Suna no onna", from which Hiroshi Teshigahara's 1964 homonymous movie was taken, is translated into English as "Woman in the dunes". However, the correct translation of the original title "砂の女, Sand Woman" brings us closer to what this cinematic masterpiece is all about; whereas "Woman in the dunes" calls to mind a too much of a personal history of one's existence, "Sand woman" points to something that is beyond "the certificates we use to make certain of one another". Life is not in need of identification cards at all. Everything is fated, nothing depends on man, for he cannot find anything to depend upon either within or outside himself, "both completely buried under particles an eighth of a millimeter wide – you can't fight it! It's hopeless!" Everything you'd have thought and brought up will be blown into the wind. Has there ever been anything man could control? "Are you shoveling sand to live or living to shovel sand?" Cinematographer Hiroshi Segawa's wondrous writing is intensely visual, is deeply sensual... A remarkable work, a movie experience you'll never forget.

A teacher carrying out research on a remote beach finds himself caught in a trap engineered by local hicks. The teacher is an intellectual: he feels sure his wits will enable him to manufacture an escape. But release gets ever further away, and his surroundings draw him in more and more...In film school, a teacher told me a story about narrative. A man, obsessed with crossing a hole full of water, works feverishly at the undertaking. He has no success, until one days he wakes and finds the scorching sun has evaporated the water. The man goes to the tap and re-fills the hole. Woman in the Dunes is that premise on a grander canvas.Jumpei is a sophisticate who, while grateful for the hospitality afforded him by the locals, also takes that gift as his social right. The woman who is his host has no such airs and graces, but her self-awareness and social awareness are far more refined than Jumpei's.The world the film creates is both uncanny and all too familiar. Sand has never seemed so complex, so seductive, so intimidating. Jumpei and the woman are forced to shovel sand to survive. Aren't we all? Jumpei and the woman come together as a couple because of limited options. Many couples will sympathise. Given the chance to fundamentally change his life, Jumpei opts for the status quo. The choice is momentous and banal, and universally understood.Eiji Okada as Jumpei is outstanding, all bombast and outrage, and then quietly confounded. Kyôko Kishida as the Woman is simply mesmerising, comely and beguiling in the mode of the English milkmaid in British Victorian novels, but with a more aquatic air (the proximity of the sea is deliciously hinted at in this arid world of sand). The story is incredibly simple, almost a parable, but inhabited with authentic characters who give it three dimensions.We all, at some point, settle. We all compromise. We all give in. This film takes that bleak reality and presents it to us wrapped in cinematic beauty.

Suna no onna is a splendidly profound minimalistic odyssey, a spiralling journey towards the core of oneself, towards an inner paradise, the ultimate Eden-oasis (suggested by the discovery of a new water source, and implicitly a new life, in the depths of the dunes); the ending is not a capitulation, it is finding the right balance and a path to be at peace and free, freedom that comes from within; the constraints, first those of the urbanistic web with its bureaucratic chains from which Niki Jumpei tries to escape through surrogate passions (entomology, photography) and then the natural ones, with the dunes acting like a hungry ghost's mouth wanting to devour its inhabitants, haunt our Ulysses on his inner sea peregrination, luring him with the woman, like a siren with her spectral body floating between the wavy dunes, and finally force him to face himself and ultimately to make a choice and gain a meaning of his life, paradoxically, beyond any pressure and coercion; the score is gorgeous and abrasive as the sand of the desert, working in perfect harmony with the both dreamy and sharp geometry of the images