AS AMERICAN AS APPLE PIE AND PUNK ROCK
In a dreary Michigan suburb, aggro punk rocker Simon (Kyle Gallner) finds himself on the run after a bout of arson and a close call with the police. A chance encounter with eccentric and socially awkward Patty (Emily Skeggs) provides him a place to hide from the law, though she fails to realize that her new friend is the anonymous lead singer of her favourite band. The pair embark on a series of misadventures and while their radically different personalities make them an unlikely duo, Simon and Patty realize that they have a lot more in common than first expected.
Dinner in America is an ode to the ’90s Nebraska punk-scene of writer-director Adam Carter Rehmeier and a hilarious underdog love story boosted by a generous helping of absurdity and some instantly quotable dialogue. Set to the beat of brilliant original songs and perfectly casting Skeggs and Gallner as a suburban Bonnie and Clyde, Dinner in America is a wild and empowering ride through the places and people of Middle America — in all their peculiar forms.
Special Edition Contents:
- High Definition Blu-ray (1080p) presentation
- 5.1 DTS-HD Master Audio and Uncompressed Stereo PCM
- Optional English subtitles for the deaf and hard of hearing
- Feature-length audio commentary with director Adam Carter Rehmeier and producer Ross Putman
- One Night Only, new interview on the film’s music with Rehmeier, Emily Skeggs, Kyle Gallner, and composer John Swihart
- Freedom from Want, new interviews with supporting cast members Lea Thompson, Mary Lynn Rajskub, Pat Healy, and Griffin Gluck
- Straight Shooting, new interview with cinematographer Jean-Philippe Bernier
- Apocalypse Yow, new interview with musician and actor David Yow
- Detroit Punk City, stories from cast and crew on the shoot
- Outtakes and deleted scenes
- Original theatrical trailer
- Soundtrack CD including a remix of “Watermelon” by Bernier
- Reversible sleeve featuring two artwork choices
FIRST PRESSING ONLY: Illustrated collector’s booklet featuring new writing on the film by producer-director Ant Timpson
The Criterion Collection, a continuing series of important classic and contemporary films presents Ticket of No Return.
The it-girl of the West German art subculture, Tabea Blumenschein, stars as a nameless, silent stranger with a one-way ticket to Berlin and a plan to drink herself to death. While touring high class bars, queer nightspots, and seedy dives, she befriends a struggling homeless woman and runs across a trio of prim, judgemental women known as Social Question, Accurate Statistics, and Common Sense. With Blumenschein’s extravagant costumes and writer/director/cinematographer Ulrike Ottinger’s eye for a city still struggling to lift itself out of the bombed-out depression of World War II, Ticket of No Return is an unforgettably unique tour of Berlin and a deliciously shrewd example of feminist camp.
- Restored 4K digital transfer, overseen by director Ulrike Ottinger, with uncompressed monaural soundtrack on the Blu-ray edition
- New interview with Ottinger
- Berlinfever – Wolf Vostell, Ottinger’s 16 minute short film of a 1973 Happening organized by artist and friend Wolf Vostell
- Gallery of Ottinger’s workbook used to develop and produce the film
- Gallery featuring rare behind-the-scenes production photos
- An excerpt from Gérard Courant’s Cinématon (2009) featuring Ottinger
- New English subtitle translation
- PLUS: A new essay by critic Michael Koresky
HE’S A LUMBERJACK AND HE’S NOT OKAY
Pacific Northwest, 1983 A.D. Outsiders Red Miller and Mandy Bloom lead a loving and peaceful existence in near isolation. When their pine-scented splendour is savagely destroyed by the sadistic Jeremiah Sand and his cult “The Children of the New Dawn,” Red is catapulted into a phantasmagoric journey filled with bloody vengeance and laced with fire. Armed with a hand-forged battle axe and an insane thirst for revenge, Red won’t stop until he has destroyed Jeremiah and his disciples.
From the visionary mind of Canadian filmmaker Panos Cosmatos (Beyond the Black Rainbow), Mandy is an ultra-hard, stylishly told hell-trip with heavy metal symbolism, demonic motorcycle mutants, buzzing chainsaws, and a phenomenal performance by Nicolas Cage as an unstoppable, single-minded avenger. Arrow Video proudly presents this modern grindhouse classic for the first time on 4K Ultra-HD Blu-ray.
HAPPY CANADA DAY!
MMC! is happily celebrating this Canada Day with Wavelength (1967), Michael Snow’s legendary experimental film. Essentially a slow 45-minute zoom through an empty Canal Street industrial loft (save for four brief sequences of human presence), Snow has called the film “a summation of my nervous system, religious inklings and aesthetic ideas.” Notwithstanding the appearances of its few human beings (including experimental filmmaker Hollis Frampton and art and film critic Amy Taubin), Snow aimed to create “a definitive statement of pure Film space and time, a balancing of ‘illusion’ and ‘fact,’ all about seeing.” The camera is Wavelength’s true subject and its presence is always foregrounded thanks to the intervention of gels, superimpositions, and other visual effects and the intensifying sound of a sine-wave increasing the speed of its repetition. The artificial mechanism of Snow’s reproduction is never lost, but the slow progress of the camera, the static space of the room, and the drone of the sine-wave creates an experience that is both tedious and anxious, however the effect is also meditative, providing the spectator with room to consider Wavelength’s tensions between outside and inside, permanence and impermanence, and the space between ourselves and the cinematic apparatus. This “diary of a room” is hailed as the definitive “structural film,” an experimental mode typified by a fixed camera position, a flicker effect, loop printing, and rephotography, and it has become a canonical work of avant-garde cinema, with its initial screening in 1967 being hailed by experimental filmmaker Jonas Mekas as “a landmark event in cinema.”
For those without the patience for Wavelength, there is WVLNT (Wavelength for Those Who Don’t Have the Time) (Michael Snow, 2003) which cuts the film into three equal portions and then superimposes them, creating a new film experience in the process (although one that is likely most rewarding having first seen the original).
The Criterion Collection, a continuing series of important classic and contemporary films presents The Man Who Stole the Sun.
Junior high school teacher Makoto Kido attacks a nuclear power plant to steal a plutonium capsule and then succeeds in building an atomic bomb by himself in his apartment. Calling himself “Number 9” and claiming to be a new nuclear power of his own, Kido extorts the government with demands for uninterrupted baseball games and a concert by the then-banned Rolling Stones, even going so far as to appoint his own negotiating partner, hardened police inspector Yamashita. Pitting rock icon Kenji Sawada with legendary tough guy Bunta Sugawara, Kazuhiko Hasegawa’s celebrated Japanese cult film explores the nation’s growing generation gap and the proliferation of nuclear power with black comedy, stylistic invention, and a heavy, controversial premise.
- New high-definition digital restoration with uncompressed monaural soundtrack on the Blu-ray edition
- The Legend is Lebon Video Testimony, an 84-minute documentary on the making of the film, with interviews and on-set footage
- Walking With the Movie, a tour of the film’s locations with Japanese singer Masaki Ueda
- Enthusiasm, Talk, Talk, My “Man Who Stole the Sun,” a 35-minute interview of director Kazuhiko Hasegawa by actor Masatoshi Nagase and special effects director Shinji Higuchi
- 11 p.m. “Wonderful!! Is Julie a Strong Guy Like Genbaku?!,” a 20-minute edited version shown prior to the film’s theatrical released on September 20, 1979
- English subtitle translation supervised by screenwriter Leonard Schrader
- PLUS: A new essay by Japanese film scholar Tony Rayns
A cult classic to knowing G-fans everywhere, Godzilla vs. Mito Kōmon was made by Shinya Takeshita around 1991 while a student at Osaka Art University. The short is loaded with DIY charm and cheeky ingenuity thanks to Takeshita playing a one-man show as a news reporter (with pop bottle microphone), various classic kaiju and tokusatsu characters (with cardboard fins and helmets), and even multiple utility poles. Takeshita also plays various roles from the iconic Japanese television series Mito Kōmon, including the title character and his various followers. The short is memorable in part for bringing two together two Japanese icons: Godzilla and his giant monster ilk and the characters of Japan’s longest-running period drama, Mito Kōmon (1,227 episodes from 1969 to 2011), which featured a feudal lord traveling in disguise with his samurai retainers and redressing some local injustice in each episode. In these socially distanced days where scores of people are taking their creativity to webcams and video-sharing in even greater abundance, Takeshita’s film is a reminder that wacky, enthusiastic, brilliant entertainment was always just one person and one camera away.