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Filmmaker Hiroshi Teshigahara was a upright artiste who saw film as one of several creative outlets, which is why the sum of his cinematic output feels relatively paltry compared to his contemporaries. The Criterion Collection has smartly seen fit to show a four-disc DVD state showcasing his three most accomplished works – plus four shorts and a feature-length documentary about Teshigahara and his most frequent collaborator, author/screenwriter Kôbô Abe. Teshigahara’s style can best be described as avant-garde, especially compared to the previous generation of Japanese filmmakers who focused far more on chronicle structure and emotional consistency – Kurosawa, Mizoguchi, Ozu. As judged by these works, Teshigahara seems far enthusiastic more in spirited a viewer’s sensibilities with movies that confound as considerable as they resonate. The results were not always successful, but they are well worth experiencing.

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The first film of the state, 1962′s “Pitfall” (****), represents Teshigahara’s debut as a feature filmmaker and is both an expressionistic ghost anecdote and a scathing social critique of Japan’s post-WWII labor conditions within the mining industry. The mystery-laden space focuses on a terrible coal miner, who is murdered in front of his young son after animated to a ghost town where the local mine becomes a battleground between the two unions that rush it. The miner’s ghost attempts to solve the crime and figure out the motive, all the while as mistrust permeates the community with more deaths occurring. The filmmaker’s social agenda sometimes gets in the plot of a corking detective chronicle, but he also presents a haunting, often surreal allegory of social alienation and apt bankruptcy. Hisashi Igawa lends a palpable desperation to the doomed miner, while Kunie Tanaka cuts an appropriately austere figure as the unavoidable stranger in the white suit.

An international art house hit that even garnered Oscar nominations, 1964′s “Woman in the Dunes” (*****) is the set’s centerpiece and a deserving masterpiece. The highly symbolic yarn focuses on an amateur entomologist on what he thinks is a day move from Tokyo to a seaside location with mammoth sand dunes. As he looks for a particular beetle that he thinks will bring him fame within scientific circles, he loses track of time, and local villagers approach upon him. For overnight lodging, they steal him to a woman who lives in the bottom of a sand pit reachable only by a rope ladder. With the ladder gone the next morning, it dawns on him that he is being held captive by the villagers. From this revelation, Teshigahara and Abe focus on how the man deals with the station and his evolving feelings toward the woman. Eiji Okada (Hiroshima Mon Amour, The Frightful American) dominates every scene as the emotionally volatile entomologist evolving from sexist entitlement to humiliating desperation to still resignation. As the woman, the offbeat-looking Kyôko Kishida initially seems to be playing Friday to Okada’s Robinson Crusoe, but her character starts to explain layers that startle and enjoy in indispensable station details. The film’s overall unnerving tone makes it feel often like an extended episode of a Twilight Zone.

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The third film presented is 1967′s “The Face of Another” (***1/2), which provides some unsettling sci-fi elements in its piercing exploration of identity, personal freedom and social acceptance. It’s probably the most dauntless of the three films, but Teshigahara’s overly stylized arrive makes it arguably the least satisfying on an emotional level. That’s because the well-known characters feel somewhat removed from reality starting with an embittered burn victim named Okuyama, his face completely bandaged. He has an oddly co-dependent relationship with his psychiatrist, who gives him a prosthetic camouflage that allows him to commence his life anew. However, Okuyama’s emotionally isolated wife returns into his life, and the inevitable complications occur. Meanwhile, there is a parallel sage centered on a young woman who bears a great radiation burn on her face, a victim of the atomic bomb dropped in Nagasaki. Her wish is to conform wither surroundings and be celebrated, which makes for an captivating counterpoint to Okuyama’s problem. Tatsuya Nakadai (Harakiri, Ran, When a Woman Ascends the Stairs) plays the involving role of Okuyama with effective menace and miserable, and as his wife, the legendary Machiko Kyô (Rashomon, Ugetsu, Floating Weeds) lends an pleasing but tangible sense of concealment to her relatively few scenes.

Each film benefits greatly from Tôru Takemitsu’s mood-setting music impressive for the versatility he displays with each salvage. Although extras are modest, each DVD has the current trailer and a generally illuminating if sometimes overly verbose video essay by James Quandt, who heads the Ontario Cinematheque. The fourth disc contains “Teshigahara and Abe”, an moving documentary that covers the filmmaker’s eclectic life, including his years being groomed to catch over his father’s world-renowned ikebana (flower procedure) school. The four relatively modest shorts provide variable interest to aficionados – 1953′s “Hokusai” spotlights the renowned block artist; 1956′s “Ikebana”, a color film which shows the hard-earned artistry found in his father’s school; 1958′s “Tokyo 1958″, an peculiar curio designed to point to the vibrancy of the city at the time; and 1965′s “Ako”, a simple short about a girl’s night on the town. Finally, there is a fifty-page booklet that provides further insight into a filmmaker more than helpful of rediscovery.

This box status by Criterion contains three films on four discs.

The first film Pitfall, released in Japan as, Otoshiana, is about a man who dies and becomes a ghost.

The second film Woman in the Dunes, released in Japan as, Suna no onna, is about an entomologist who misses his bus benefit to town. He is offered a plot to pause for the night which is in a sand pit accessible only by ladder. The widow who lives there then holds him captive.

The third film, The Face of Another, released in Japan as, Tanin no kao, is about a man whose face is disfigured in a fire who is given a realistic camouflage by a doctor.

Each of these films, especially Woman in the Dunes is salubrious. I have been waiting for Criterion to release Woman in the Dunes for several years.

The release contains an entire disc of special features too. There are video essays on each film by movie critic, James Quandt. Also there is a documentary about Teshigahara and his colleague Kobo Abe. Finally Four short films Hiroshi Teshigahara directed are included. They are Hokusai, Ikebana, Tokyo 1958, and Ako/White Morning (1963)
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