Product DetailsOne of the most acclaimed Japanese directors of all time, Hiroshi Teshigahara distinguished himself in the sixties with a series of sinuous, atmospheric, and daring films. Teshigahara found his spiritual partner in novelist and screenwriter Kobo Abe, with whom he collaborated on these Kafkaesque portraits of identities in peril, films that captivated mainstream audiences while also touching the edges of the Japanese avant-garde. The existential ghost story Pitfall (Otoshiana), the shocking, erotic fable Woman in the Dunes (Sunna no onna), and the sci-fi–tinged nightmare The Face of Another (Tanin no kao) are among cinema’s enduring enigmas and rarest pleasures. Pitfall Hiroshi Teshigahara’s debut feature and first collaboration with novelist Kobo Abe, Pitfall is many things: a mysterious, unsettling ghost story, a portrait of human alienation, and a compellingly surreal critique of soulless industry, shot in elegant black and white. Woman in the Dunes In this art-house sensation, an amateur entomologist has left Tokyo to study an unclassified species of beetle that resides in a remote, vast desert; when he misses his bus back to civilization, he spends the night with a young widow (Kiyoko Kishida) who lives at the bottom of a sand dune. The Face of Another In this staggering work of existential science fiction, Okuyama (Tatsuya Nakadai), after being burned and disfigured in an industrial accident and estranged from his family and friends, agrees to his psychiatrist’s radical new experiment: a face transplant, created from the mold of a stranger.
Store CommentsSpecial Features New, restored high-definition digital transfers Video essays on all three films by critic and festival programmer James Quandt Four short films by Hiroshi Teshigahara: Hokusai (1953), Ikebana (1956), Tokyo 1958 (1958), and Ako/White Morning (1963) A new documentary about the working relationship beween Teshigahara and Kobo Abe, including interviews with Japanese-film scholars Donald Richie and Tadao Sato PLUS: A booklet featuring essays by James Quandt, Howard Hampton, Audie Bock, and Peter Grilli and Max Tessier’s 1964 interview with Teshigahara
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