Mise-en-scene master Imamura gives us a solid B, or B- effort here—constantly messing with the frame in creative ways, he split’s it in half once with an umbrella stand
Many shots through windows and glass
Has the trademark abundance of raw sexuality and fetish—the “venting” woman paired with sex and shoplifting. I see a tiny bit of this here in del Toro’s The Shape of Water
Another creative shot during the first scene sex through the mirror
Wooden object in the foreground just like Imamura’s master Ozu would do
foreground/background mastery– Ozu-like shot here
Framing again and again- blinds and shoji doors creating planes for the varying depths of field
Red and green light used frequently- trash can in her place is a light green plastic one, the red bridge obviously, her dresses, scarf at the end
Odd surrealism cell sequence- don’t love it
odd sequence not fully formed
Imamura’s last film
Kôji Yakusho lead would later be in Babel (2006)
Breezy- light
Gorgeous shot of the two talking through a window, wooden frames breaking up the mise-en-scene with the white cap mountains in reflection
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