proof of identity

Enid 2022-03-13 08:01:01

Text/Every time Buenos

wants to talk about [The Girl of Sand], I can't help thinking of the bleak life of the author Anbe Gongfang - life was bumpy and displaced from childhood, tossing around in Hokkaido, Shenyang, and Tokyo. When I was educated, it coincided with the defeat of Japan. Suffering from lung disease at a young age, he managed to get into college, but he was so poor that he needed to set up a stall selling pickles and briquettes. Life experience determines that the characters in Abe's works are often desperate and lonely, and face the situation of being artificially deprived of their established attributes. The imperial envoy Hiroshi Kawara shot the three novels of Abe Gongfang in one go. It was at the early stage of Japan's rapid economic start after the war, and the developed society was still a primitive village. The director and the writer's questioning about utopia and social psychology fits perfectly. Of course, aside from those historical and social nonsense, the most reminiscent of [Daughter of Sand] is "Wolf Calamity". After the identities are reversed, it is still the relationship between prisoners and prisoners, and it is still the wrestling between men and women and the secret room. lust. Of course, Tian Zhuangzhuang screwed up a bit on this issue. In fact, he can't be blamed entirely. This kind of story itself is too bewitching.

The full shot of Otaku's Daydream

begins with a stationary object with an irregular surface and a lustrous surface, flashes three times, and pulls further and further away, and finally presents a desert wrinkled by the wind. It turned out that the original object A close-up of a grain of sand. In the next picture, a man is climbing a hill alone in the desert, dressed in a standard attire for fieldwork, and he has been tossing around for a day looking for and catching insects. When the sun went down, he lay on the ground to take a nap, and his relationship with his wife was replayed in his head, thinking about men and women and quarrels. An uncle dressed as a villager appeared on the ground and came to talk to him, telling him that the last bus had left, and warmly inviting him to come to the village to stay overnight. When he spoke, he rubbed his bare chest with some cramped hands, and the camera turned, It turned out that there were two other uncles waiting by the side, and the three of them were surrounded and unstoppable. At this time, the man didn't realize that something was wrong, and followed the three of them to climb over the long sand dunes, and came to a strange village. "Nice family", he happily climbed down and moved in.

The single woman who greeted him did not see her shape, but first heard her voice, her voice was clear and sweet, and when we met, we saw a woman in a yukata with big eyes, thick lips, and well-proportioned flesh. In a hurry, he began to take off his clothes. At this time, there is a detail that cannot be ignored. The director gave a medium shot to the woman who came over from the lamp. She looked up and down the man's movements with a too obvious look at the sky and the big pie. She was pleasantly surprised and grateful. Afterwards, the woman was attentive to the man's hospitality, just like facing her husband who hasn't returned for a long time, with hot food and tea, holding the only lamp in the house, the flickering firelight made the corners of her eyes and brows tender, but she just declined the man The reason for the request to take a bath was "I'm sorry, I have to wait until the day after tomorrow", which made the man burst into laughter, "I'm leaving tomorrow."

The strange thing continued to happen before the man planned to go to bed early. Someone outside the sandpit threw in the tools and shouted, "You have a helper." He would be buried, the woman smiled and went to work on her own, the man hesitated for a moment and followed him out to help hold the lamp, a playful smile slipped across the darkness, the woman even swiped her eyes and quickly attacked his chest with her hands and escaped. , the man is a little embarrassed. The more embarrassing thing happened early the next morning. A body framed by dim light appeared in the camera, like a silhouette of light. It turned out that the woman who was sleeping on her back was naked, with one leg curled up and her lower abdomen gently Ups and downs, the skin is covered with a layer of fluffy sand, only the face that should be generous is tightly wrapped. At the other end of the room, the man who had rolled over and sat up was swallowing hard.

At this time, the man was still strong in self-control, and wanted to sneak away while the woman was sleeping, but when he packed up and prepared to go on the road, he found that the ladder on the sand wall had disappeared. Well, this is a trap, the only ending between Tang Seng and each female goblin, like all marriages with a clear purpose. After all attempts to climb to no avail, the man began to fall into a frenzy, and then pretended to be sick, while the woman just hummed a little song, did housework, and carefully wiped his body and stabbed his itch. The man finds an opportunity to tie the woman up for questioning and coercion, but in the daily toss, he is faced with the situation that the sand is unshoveled and the water tank bottoms. Rationing is the survival mode for all villagers here.

The man who had no choice had to loosen the tie for the woman, and then threw his fist at the rotten wooden siding, shouting, "Make it a ladder and you can go out", which caused the woman to fight him hand-to-hand. On the ground, the man found that his left hand was just on the woman's right chest. A gust of wind passed through the sky, and the sand collapsed. Hold the woman under you.

From the time men start wiping women with wet cloths, the desire for captivity is well restrained by the director. The erotic scenes of the film can be regarded as giving full play to the advantages of black and white films. Under the bright and dark light, the close-up switches between the man's wandering hands and the woman's confused expression and taut toes, and the man's back is scratched by the woman's fingers. , tell us, that's sand, sand everywhere. The sand that had not been shoveled for a few days had piled up in a thick layer indoors.

After the scientific male's remaining passionate

physical relationship was established, the thirsty man finally got the water delivered by the villagers. It seemed that people were much more at ease. They went in and out with women every day, worked hard, and enjoyed rations, but this did not mean With his head full of scientific development concept has been annihilated. I still remember that on his first night as a guest, a long conversation between him and the woman was all about proving the academic issue of "whether sand with an average diameter of 1/8mm can prevent corrosion or corruption". Now, he sometimes has to continue. The sand wall struggled in vain, calculating in his head whether he could find a gravity axis for the house and let it shake and float out of the sand pit. Of course, he also has strong hands-on ability. He buried a wooden barrel on the ground and made an ingenious trap, intending to catch the crow and send it out with a letter of help.

In the daily confrontation with the woman, he also tried to disintegrate her concept from the inside, talk about Tokyo for her, question her life, but the woman is a deep-rooted otaku, and he just gently and repeatedly persuaded him that "you will adapt." The dialogue between the two is always like people from two worlds, but they speak the same language. For example, when a man says, "It's great to be able to walk freely outside," a woman will listen to a big joke and reply, "That's not more tiring. keep walking". On the surface, the two still raised their eyebrows as husband and wife, shared baths from time to time, and tried to save money to buy a radio. During this period, the man's escape became an episode. That time, he found a chance to get the woman drunk, tied a long rope, tied a pair of scissors, carefully calculated the rotation speed and the angle of elevation, and successfully climbed out of the pit, but unfortunately stepped into the quicksand pit while running. , had no choice but to shout for help to the chasing soldiers behind. Soon, like many unintentional marital victims, the man lowered his expectations again and only asked the villagers to let him go out and take a look at the sea. After several requests, the other party replied, "Do what you two usually do. Let's do it outside for us."

This is where the most ghostly scene in the whole film begins. The light of the flashlight shines directly into a spotlight, and the entire bunker becomes the stage of the big circus. The man is cramped at first, and he asks the woman's opinion in a serious manner. With one stroke, the woman was dragged from the house and pressed under her body. The crowd outside the pit gathered more and more, cheering people began to dance to cheer, and the masks on their faces flickered in the firelight. However, the woman still refused to give in. Ignoring the man's plea to "be good", she slapped him with her knees. The man rolled to the side in pain, but the woman beat him on the back angrily and distressed. In the midst of a disappointment, the crowd outside the pit also dispersed.

It seems that the turning point will come from the almost forgotten crow trap. In the past two months, nothing has been found. The man is worried about the smelly bait, only to find that the wooden barrel buried in the sand has accumulated several inches of water. He studied it deeply and thought that the position and depth of the barrels he placed would just follow the capillary principle and allow the water in the sand to gather. For the time being, sand and water are inseparable. No longer threatened by water shortages, men also see hope of escape again. However, fate no longer gave him the chance to carry out any plans. One night, the woman suddenly fell ill and was diagnosed by the village veterinarian as abnormally pregnant. Everyone wrapped the woman in a blanket and hung her up. She moaned, "No, no," and her eyes only fixed on the man standing in front of the wooden house. , For the man, the people who evacuated in a hurry seemed to have taken away all the world that tightly wrapped him. The soft ladder was hanging there, and there was only the sound of the wind and the squirming of sand. He thought about it, ran to carefully The secret of the crow trap is covered, as for everything else, let's talk about it tomorrow. Life is

a Mobius Ring

, in a big way, it's still inferiority, it's human nature, it's Stockholm syndrome. In fact, a foreshadowing was placed at the beginning of the film early in the morning. The man once had a [trainspotting]-style inner monologue - "All those documents, contracts, licenses, ID cards, assignment deeds, registrations, checks, IOUs, diplomas, temporary residence permits, membership What is the use of certificates, custody certificates, or even family trees?” Yes, these Lao Shizi have nothing to do with the quality of life, but only with social attributes. The man who came from the metropolis Tokyo stayed in the village of sand like this. The film finally showed his disappearance certificate after seven years, indicating that his social attributes have lost legal recognition. And you can see that he has food, cigarettes, labor opportunities, a desire to buy a new radio, and a woman willing to have sex with him in the bathtub anytime. For some people, life is actually like the question a man asks a woman, "Are you digging to live, or digging to live?" It is a Mobius circle in itself, with Tokyo and the countryside on both sides of a note , it's the same thing, in essence, it can be seamlessly connected.

There are many close-ups of various insects in the film. The man nailed the insect to the specimen board, the spider retreated into the sand under the pillar of the room, the beetle gnawed the beam of the house, and the multipedal insect skipped the sand surface briskly. The most superficial understanding, of course, is that the life of the villagers' repeated work in the sand is no different from that of the lowest insects. In this regard, the original author Anbe Gongfang still has a little assumption, borrowing the mouth of a colleague of a man in the novel, and proposed that the hobby of collecting insect specimens is closely related to the "Oedipus complex", "They know that the insect corpse will not escape, But he still used small pins to fasten those corpses tightly to vent his insatiable desires." But obviously, since the man fell into this bunker trap, he has become a worm in a taxidermy bottle, nailed to death. His tool is that woman. The fact that a man is retained by a woman cannot be simply reduced to lust, has nothing to do with Oedipus, has nothing to do with love, has nothing to do with children who are doomed to die, and naturally has nothing to do with social attributes such as responsibility and obligation. Women's purely instinctive needs for men are obviously more "insect-like", and men are finally willing to be "insects", presumably because of his scientific brain in the 1960s, he understands the truth of a modern quantum mechanics category, looking across time, Under the feet of all things, is it a Mobius ring, the difference is only in color, length, and size.

The original text is contained in "Watching Movies" Love Reference

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Extended Reading
  • Brandy 2022-04-22 07:01:55

    Nothingness and absurdity, Stockholm syndrome-like existentialism.

  • Mazie 2022-04-21 09:03:46

    It is both a social fable and an existential exploration. On the one hand, the relationship between male and female gender dependence and commercial shady. On the other hand, it is the opposition of the sea/water and desert. Sound effects. A strong sense of discomfort and fear gradually spread in the hearts of the viewers. The most terrifying thing is that while worrying about the protagonist, he also gave up his original freedom at the same time. Satisfied in one bucket. The enlarged body parts are like quicksand /It is also shaped like a water flow. Lust eventually tames the protagonist. The heroine instead returns to the city. Freedom on both sides. Whoever said it?

Woman in the Dunes quotes

  • Entomologist Niki Jumpei: The certificates we use to make certain of one another: contracts, licenses, ID cards, permits, deeds, certifications, registrations, carry permits, union cards, testimonials, bills, IOUs, temporary permits, letters of consent, income statements, certificates of custody, even proof of pedigree. Is that all of them? Have I forgotten any? Men and women are slaves to their fear of being cheated. In turn they dream up new certificates to prove their innocence. No one can say where it will end. They seem endless.

  • Entomologist Niki Jumpei: Shall I - brush off the sand?

    Woman: But, aren't all the city girls prettier than me?

    Entomologist Niki Jumpei: Nonsense! Give me the cloth.