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Woman in the Dunes
1964
Kwaidan
1965
Pitfall
1962
Onibaba
1964
The Man Without a Map
1968
Demons
1971
Kuroneko
1968
The Cremator
1969
Funeral Parade of Roses
1969
Ugetsu
1953
Rikyu
1989
The Human Condition I: No Greater Love
1959
Woman in the Dunes(Movie)Kwaidan(Movie)Pitfall(Movie)Onibaba(Movie)The Man Without a Map(Movie)Demons(Movie)Kuroneko(Movie)The Cremator(Movie)Funeral Parade of Roses(Movie)Ugetsu(Movie)Rikyu(Movie)The Human Condition I: No Greater Love(Movie)
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contrasting to its time, hiroshi teshigahara's films feature much less overstated acting which in my opinion is the worst thing that older movies have. both in this film and in woman in the dunes the director achieves one of the best actor direction performances of its time. that's why i think this group of japanese films (including films from other legendary japanese directors) make for some of the best films ever made read
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8.7 el rostro ajeno película extraña sobre la identidad. read
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A brutal commentary on self-image and the way that appearances can change the attitude and ideals of a person that is one of the best films I've ever seen. The way that Okuyama changes throughout the film is incredible. He starts off as a brutally wounded man, who is afraid to go out in public due to his horrible disfigurement. He realizes how important looks are and all he wants is a new face so that he can blend back into society and be with his wife again. There's no desire to be attractive or important, he just wants to be normal. But once he gets his new face, his attractive appearance... read
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"You don't need me. What you really need is a mirror. Because any stranger is for you simply a mirror in which to reflect yourself. I don't ever again want to return to such a desert of mirrors"
"Could having a face be such an important requirement? Was being seen the cost of the right to see?" read
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من امرأة في الرمال الي الوجه الآخر هيروشي لا يخذلك ابدا وهذا من افضل افلام اليابانية اللي شفتها هذي الفترة
حرق#
هيروشي دايما يرمز بشيء لشيء اخر، في امرأة في الرمال كانت الرمال عبارة عن سجن والامراة هي رئيسة هذا السجن اللي تجرد الناس من حريتهم لانها خائف من الرؤساء الكبار
في هذا الفلم الوجه كان يرمز للوجود المكاني وهويتم داخل المجتمع، وكيف للناس ان تحكم بالمظاهر وعكس هذا الامر في الشخصيتين اللي مشوهة وجه بالحروق، فالاولى اخذ هوية اخرى من غير لا ماضي او حاضر او شخصية كأنه اتخذ شكل الوهم، وبين الثانية اللي ما تحملت الحياة وانتحرت
اخراج هيروشي هو الافضل دائما، بذات لقطته الاخيرة الغريبة... read
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