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

Sadly Over-hyped

One of the worst movies I've ever seen

Best movie ever!

Despite rapidly deteriorating eyesight, Kurosawa at age 75 made Ran, a Shakespearean tale with a colour palette so striking that it might have been Pollock himself flinging blood onto the canvas. Despite needing assistance to frame basic shots, and having only basic guidance from Kurosawa's illustrated storyboards, its style is arresting, mingling blood and smoke and ash in an arena where God himself is absent. 5 years on, he would make Dreams, a title apt not only for the surreal thread of logic and imagination running through its narrative, but also for how Kurosawa must have conceived of its creation. With barely functioning eyesight, how much of reality was he really seeing, and how much of his dreams made their way onto the filmstrip? The first skit, 'Sunshine Through The Rain', is situated within a near exact replica of Kurosawa's own childhood home, a surrogate for the director to relive his youthful curiosities and anxieties. The boy (aptly named I) ignores his mother's warnings of interrupting the wedding processions of the forest foxes, and stumbles upon not animals, but a troupe of actors in Kabuki masks, performing a highly stylised pantomime. Even a child his age knows when his presence is a gross intrusion, hiding behind the trees. As if on command, the foxes pivot on the stroke of the flute and drum, and their stares force him away. To say this is unsettling would be putting it lightly. A boy of similar age discovers the sins of his family in 'The Peach Orchard', being confronted with the anthropomorphised peach trees as obina and mebina dolls, all sporting ghostly white make-up. Their dialogue seems otherworldly, filtered through some heavenly speaker instead of a normal sound mix. This isn't a scolding, it's a divine condemnation. As quickly as they summon the peach blossoms for the boy's brief bliss, they also quickly disappear, leaving behind a young boy clambering over barren field in a boxed-in medium shot. Kurosawa cuts with viciousness here, one moment filling the frame with pink petals and a glimpse of a mysterious girl (which may reference Kurosawa's older sister who passed away young), the next ripping it all away. As the 'boy' grows, he finds himself in increasingly bizarre situations in which he discovers a world in topsy turvy, with both moral and conventional logic tossed out the window. 'The Blizzard' sees an adolescent Kurosawa and his climbing crew buffeted by howling wind and snowstorm, hacking at the ice with futility and gaining little progress. One by one the mountaineers become frozen statues, and the leader is almost seduced by the Yuki-onna's song, who calls him to his next life. The scene is obviously shot on a small set, judging by the fake snow and the climber's circling and back-pedalling route, but Kurosawa's sound design, which blends a mass of roaring wind and the serene tones of the Yuki-onna, as good as throws us into the fray. The next vignette, 'The Tunnel', continues the line of dream logic; an army commander strolls through idyllic mountainside, but where is the rest of his platoon, and from which nearby battlefield did he escape? He is the only survivor of a suicidal charge, his departed comrades arranged in military file and salute, deep blue faces with blackened eyes. The fact that they do nothing to acknowledge the past atrocity and the culpability of the surviving commander only deepens his grief; he unloads the anxieties and lingering trauma of a country ravaged after the world war onto their blank faces, stony manifestations of his survivor's guilt that will stay with him for the rest of his life. At this point, Kurosawa shifts from what could be an entirely personal and autobiographical story to broader musings on human nature and its interaction with the wider environment. 'Crows' and 'Village of the Watermills' bookend the narrative's entry into a harsh, alien landscape post-nuclear bombardment, where sunflowers grow ten feet tall amidst fields of grey ash, and hordes of mutated 'survivors' weep into pools of red. What Kurosawa does here with red mist and fog rivals some of his best work in Yojimbo, the traveller once again buffeted from all sides, unable to clearly mark a path forward. By depicting nature's recoil in such a grotesque, bodily form (the volcano in 'Mount Fuji in Red' practically spits fire and blood), he mourns for the natural beauty that has been desecrated by modernity. Dreams' didactic label isn't inaccurate, but it's a minor grievance when you consider the enduring strength of the director's hope and moral sensibility even in the twilight of his career. We witness the final vignette's potency, see the final hurrah of the funeral procession for an age that has almost faded. The windmills may have stopped turning, and his eyesight may be gone, but Kurosawa still sees so clearly through his hopes and dreams.

This surreal environmentally themed film is certainly worth a watch because it is so strange. However, audience be warned, if you decide to watch this film, be prepared for a journey that may leave you confused, bewildered, and forced to wonder about your own dreams about the future. Dreams is not a typical film thematically or stylistically, and the viewer should be prepared for a strange yet remarkable journey. Instead of following a linear plot line the film consists of eight independent short stories, each with different settings and characters. Each dream could function as a stand alone piece, but similar themes run through the works. These common themes tie the piece together and create a more cohesive and complete piece. In addition, the scenes are organized in a strategic way so that transitions are smooth. Moreover, your ability to comprehend the more eccentric scenes toward the end of the film is increased by being primed and comfortable with Kurosawa's surreal style. Each scene is set in a different time, place, and reality, and they all have a mystical quality. Each dream addresses an environmental theme in an imaginative way. For example, in the first dream, a young boy witnesses a fox's wedding without permission, and must face the consequences. In the second, another young boy speaks with the spirits of a peach orchard that his family cut down. In the next, four men attempt to summit a mountain during a deadly blizzard. The film then takes a turn that raises your hair on end when a commander walks through a tunnel and encounters one of his dead soldiers. In an even more surreal scene, a man seeks Vincent Van Gogh by literally diving into his paintings. In the sixth and seventh scene, Kurosawa imagines a nuclear energy disaster in Japan and what a post nuclear fallout world would look like. In the final dream a traveler stumbles upon a quaint town that lives in harmony with nature. Each of these vignettes present arguments about our society's relationship with nature, and they explore the dangerous consequences that might occur if we do not respect it. Dreams is intriguing and artistically masterful, but I still found it difficult to stay focused and involved during some of the slower moments. Kurosawa is certainly an incredibly talented director with demonstrated artistic mastery. Within the first few seconds of each scene, the audience is transported into Kurosawa's dream world. Whether it be in a blizzard or post nuclear apocalypse, Kurosawa is able to set the scene without backstory or dialogue. The acting and music is made more dramatic by typically desolate or sparse environment. They qualities work in union with each other to create a stylistically unique atmosphere. In most cases this union was effective, however, on multiple occasions the music was too heavy handed, overdramatic, and distracting. Similarly, on multiple occasions a dramatic beat lasted too long, and I found myself drifting away. During these moments of lapsing concentration the artistic film lover in me had to shake the rest of my mind awake. While the artist in me regarded these moments with self revulsion, it is important to note that there were moments in the film where I heard myself saying, "Okay, I get it. Now let's get on with it." By no means did these moments completely derail Kurosawa's film; however, it is important to note that this film is not fast paced or easy to process. It is easy to feel confused by his surreal style. In my experience this confusion distances the audience from the film that it was so captivated by just moments before. If you watch films solely for the purpose of being entertained and do not like to be puzzled or actively think about a film, this film is not for you. After watching this film the viewer certainly can tell that Kurosawa's vision is refined, purposeful, and Kurosawa accomplished what he set out to do. However, it may still remain unclear what exactly his goals were. If his goal was to open a door and invite the audience into his dreams, he accomplished that without question. Each dream had a strong setting, even though they were mystical and surreal. He effectively used these settings to evoke emotional responses and set a mesmerising scene. Certain moments dragged on too long and many of the scenes lacked closure. These features distanced the audience from the dream. In some of these moments my mind was racing with possible outcomes and questioning exactly what he was trying to say. I was searching for symbolism and picking out his arguments about humanity and nature. This reflection left me wondering if his intention was to distance the viewer afterall. Nevertheless, in the slower moments I also found myself drifting away from the dream, and into my own dreams; this was certainly not his intention. Nevertheless, this film is certainly a worthwhile experience.I implore you to watch Kurosawa's Dreams, but do not expect a comfortable and passive ride. Kurosawa takes you on a surreal journey into the depths of his imagination that is both striking and puzzling. The most notable and important feature of Kurosawa's Dreams is that the film explores humanity's relationship with nature. Some dreams explore this relationship more directly, while in others it is more indirect. Nevertheless, it is obvious that Kurosawa is deeply troubled by fears of what the future may bring if we continue on the path we are on, one that is unsustainable and certainly leading to environmental disaster. Despite these fears, this film does not lead the viewer into despair about the environmental crisis and the future of humanity. If you have what it takes, I urge you to watch the film and see for yourself the solution that Kurosawa presents for how we can live happily, sustainably, and ethically.

It must be some dream that Kurosawa had when he was making this movie. The movie is way ahead of its time. Its makes a Lotta sense now that we see what's happening today.The Red Mountain segment, The Nuclear reactor explosion is very much like the reactors that bust after the earth quake in japan. The difference being its volcano eruption in the movie. Kurosawa, doing what he does best made this master piece which has be watch a few times to understand what he meant. Among all the movies that he has made this one stands out for the story and concept that kurosawa had in his mind.

I have just seen it once, in the 1990s, but I still remember it with fascination. "Dreams" contains different short pieces containing a enactment of several real dreams that Kurosawa had. You have to remember that when watching it, as the film is full of surrealism and unconsciousness, but also of shocking inexplicable images, as most of our dreams are. The dreams have different tone and mood, but all of them are beautifully filmed and brought to life. However, some of them are very sad and shocking and not easy to understand.This is one of those films rarely created in the history of film making, in which a director bares his soul naked in front of the spectator to show those fears, oniric patterns and stories that populate his most inner world. Imagine how difficult is to remember a dream, and, even more difficult, to recreate it and make it understandable, visually, for a person who is not you, i. e. for people to whom the images are presented as a projection of your unconscious. That's precisely what Kurosawa does in this movie. It is an exercise of both psychoanalysis and an intimate way of communication of the self with the viewer.This is, perhaps, a movie too complex for the usual movie-goer, but an oniric masterpiece, rare and unique that will delight cinema lovers and Kurosawa's fans.