Quote:
The final collaboration between Hiroshi Teshigahara and Kobo Abe, 240 Hours in a Day is a four-panel projection produced for the 1970 Osaka Expo. Set in the near future, a scientist invents an accelerator that increases the speed of human activity tenfold.

40 Hours in One Day (1970) [abridged version].mkv

General
Container:  	Matroska
Runtime: 	9mn 52s
Size: 	32.6 MiB
Video
Codec: 	x264
Resolution: 	720x406 
Aspect ratio:  	16:9
Frame rate: 	29.970 fps
Bit rate: 	
BPP: 	
Audio
#1:  	2.0ch AAC (Stereo)

https://nitro.download/view/89D81544449F32C/240_Hours_in_One_Day_(1970)__abridged_version_.mkv

Language(s):Japanese
Subtitles:None

The post Hiroshi Teshigahara – 240 Hours in One Day [10 min abridged version] (1970) first appeared on Cinema of the World.

Follows Ako, a 16-year-old Japanese girl, as she spends time working in a bakery and going out with her friends.

Ako.1964.BDRIP.576p.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	28 min 41 s
Size: 	656 MiB
Video
Codec: 	x264
Resolution: 	770x576 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.282
Audio
#1:  	Japanese 1.0ch AC-3 @ 192 kb/s

https://nitro.download/view/8454704B7A5E823/Ako.1964.BDRIP.576p.x264.AC3.KJNU.mkv

Language(s):Japanese
Subtitles:English

The post Hiroshi Teshigahara – Ako (1964) first appeared on Cinema of the World.

When a miner leaves his employers and treks out with his young son to become a migrant worker, he finds himself moving from one eerie landscape to another, intermittently followed (and photographed) by an enigmatic man in a clean, white suit, and eventually coming face-to-face with his inescapable destiny. 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.

1.49GB | 1h 47m | 664×498 | mkv

https://nitroflare.com/view/76D1C3AFEB5F45D/Pitfall.1962.DVDRIP.x264.AC3.KJNU.mkv
or
https://nitroflare.com/view/61FA5BCD6D79049/Pitfall.1962.DVDRIP.x264.AC3.KJNU.part1.rar
https://nitroflare.com/view/6A64F70F6052CA8/Pitfall.1962.DVDRIP.x264.AC3.KJNU.part2.rar

Language:Japanese
Subtitles:English

The post Hiroshi Teshigahara – Otoshiana AKA Pitfall (1962) first appeared on Cinema of the World.

Acclaimed director and headmaster of the Sogestsu school of flower arranging Hiroshi Teshigahara helms this elegant historical drama about tea master Sen no Rikyu. A Buddhist priest who talks of the beauty of a single flower or the shape of a hand holding a teacup, Rikyu (played by Rentaro Mikuni) not only perfected the art of the tea ceremony, but he was one of the primary arbiters of taste during his age. That era was a bloody one, culminating in the uniting of Japan’s disparate kingdoms by a series of strong leaders. The most ambitious and the most extravagant was Toyotomi Hideyoshi (Tsutomu Yamazaki), who favored flashy displays of wealth as much as he did violent conquest. Hideyoshi thought of the tea ceremony not as an art but as a show of refinement and power. In 1587 he held a ten-day tea-drinking orgy in Kyoto and Osaka. Hideyoshi chose Rikyu to oversee it and soon the buffoonish, violent leader and the reserved master were engaged in a thinly veiled clash of wills. Rikyu eventually does teach Hideyoshi that beauty is found in the minute. Yet when Hideyoshi receives both guns and a globe from Portuguese missionaries, he is overwhelmed with Napoleonic visions. When Rikyu expresses his reservations about Hideyoshi’s impending invasion of Korea and China, the potentate demands an apology. — Jonathan Crow allmovie.com

http://nitroflare.com/view/C40DAABA4386993/Rikyu_%281989%29_Teshigahara.mkv

Language(s):Japanese, Portuguese
Subtitles:none

The post Hiroshi Teshigahara – Rikyu (1989) first appeared on Cinema of the World.

Acquarello @ Strictly Film School wrote:
An off-camera psychiatrist (Mikijiro Hira) overseeing a processed batch of prosthetic appendages describes his fragile role of diplomatically treating – not a patient’s physical imperfection – but rather, the psychological insecurity that underlies his seemingly superficial malady. The curious, fragmented shot of randomly floating, artificial body parts is subsequently reflected in an X-ray profile of a smug and embittered burn victim named Okuyama (Tatsuya Nakadai) as he recounts to the quietly receptive psychiatrist his own culpability in the fateful industrial accident that had permanently disfigured him and now estranges him from his co-workers and family. The clinically disembodied images are then commuted into the equally cold and sterile Okuyama household through a dissociating, close-up shot of a human eye that zooms out to reveal his beautiful and mannered wife (Machiko Kyô) busily occupied in her hobby of polishing gemstones as the acerbic and insecure Okuyama attempts to test her affection and fidelity with vague and allusive casual remarks and open-ended questions. Spurned by his wife after a spontaneous and awkward attempt at intimacy, Okuyama returns to his psychiatrist and agrees to participate in the testing of the doctor’s latest experiment: a prosthetic mask molded from the facial characteristics of a surrogate donor. Now liberated by a sense of faceless anonymity and relieved of personal and professional entanglements, Okuyama takes up residence at a modest boarding house and begins to test the limits of his traceless identity.

Marking Hiroshi Teshigahara’s third adaptation of novels by modernist author Kobo Abe, The Face of Another is a highly stylized, psychologically dense, and provocative exposition on identity, persona, freedom, and intimacy. From the opening sequences of isolated anatomy, Teshigahara establishes the fractured tone of the film’s narrative. Surreal, aesthetically formalized shots of the oppressive prosthetic laboratory underscore the atemporal and geographically indeterminate nature of the universal parable. (Note the disjunctive effect of freeze-frames, muted ambient sounds, and cultural polyphony of the doctor and patient meetings at a German pub-themed bar that further contribute to a sense of existential ambiguity and pluralism). The intercutting parallel, elliptical narrative of a facially scarred young woman (Miki Irie) – whose character introduction is intriguingly accomplished through a wipe-cut (and therefore, may only exist as a figment of Okuyama’s imagination) – creates, not only a pervasive sense of alienation, but also betrays the unsympathetic protagonist’s internal chaos and capacity for emotional violence. Combining striking, elegantly composed visuals with innately humanist themes of connection and identity, Teshigahara composes a haunting, cautionary fairytale of masquerade and revelation, defect and vanity, impersonation and self-discovery.

http://nitroflare.com/view/7F2A9C8DFD1E395/FACE_OF_ANOTHER.avi
http://www.nitroflare.com/view/735D6140614F6B2/FACE_OF_ANOTHER.idx
http://www.nitroflare.com/view/E7044CD9E7EE7F0/FACE_OF_ANOTHER.sub

Language(s):Japanese
Subtitles:English

The post Hiroshi Teshigahara – Tanin no kao AKA The Face of Another (1966) first appeared on Cinema of the World.

Jumpei Niki, a Tokyo based entomologist and educator, is in a poor seaside village collecting specimens of sand insects. As it is late in the day and as he has missed the last bus back to the city, some of the local villagers suggest that he spend the night there, they offering to find him a place to stay. That place is the home of a young woman, whose house is located at the bottom of a sand pit accessible only by ladder. He later learns that the woman’s husband and child died in a sandstorm, their undiscovered bodies buried somewhere near the house. The next morning as he tries to leave, he finds that the ladder is gone – he realizing that the ladder he climbed down was a rope ladder which is anchored above the pit – meaning that he is trapped with the young woman as the walls of the pit are sand with no grip. He also realizes that this entrapment was the villagers and the young woman’s plan for him to stay there permanently to be her helper in the never-ending task of digging out the sand, which if not done will swallow them alive. They are dependent upon the villagers to help remove the sand, but also for their rations including water. He learns that the sand is the young woman’s life, and that she knows or wants no other life. Thus, it is no use either to blackmail or kill her as she is willing to live and die by this life, and as such he will surely die if she is dead. His life tasks become to figure out a way to escape while co-exist with the woman in what he considers their prison. As time goes on, he also learns that there are other tasks which will consume him.

http://www.nitroflare.com/view/9C93891E83F83D1/Woman.in.the.Dunes_1964.720p.WEB-DL.AAC2.0.H.264-GABE.mkv

Language(s):Japanese
Subtitles:English, Romanian

The post Hiroshi Teshigahara – Suna no onna AKA Woman in the Dunes (1964) first appeared on Cinema of the World.

A private detective is hired to find a missing man by his wife. While his search is unsuccessful, the detective’s own life begins to resemble the man for whom he is searching. (imdb.com)

The.Man.Without.a.Map.1968.576p.HDTV.MPEG-2.AAC-nhkfans-mN.mkv

General
Container:  	Matroska
Runtime: 	1 h 54 min
Size: 	2.76 GiB
Video
Codec: 	x264
Resolution: 	1024x436 
Aspect ratio:  	2.35:1
Frame rate: 	23.976 fps
Bit rate: 	3 311 kb/s
BPP: 	0.309
Audio
#1:  	Japanese 1.0ch AAC LC @ 124 kb/s

https://nitro.download/view/C936DEAC8A49F8A/The.Man.Without.a.Map.1968.576p.HDTV.MPEG-2.AAC-nhkfans-mN.mkv

Language(s):Japanese
Subtitles:English

The post Hiroshi Teshigahara – Moetsukita chizu aka The Man Without a Map (1968) first appeared on Cinema of the World.