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.
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
“One of the most…
TRAUMATIZING AND SADISITIC ‘FAMILY MOVIES’ EVER MADE.”
The San Francisco Bay Guardian
The Most Amazing Adventure A Boy Ever Lived Through
Now On Blu-Ray For The First Time Ever!
Filmmaker Jamie Uys (THE GODS MUST BE CRAZY) cast his own son as a sickly eight year-old boy stranded with his pet dog in the Kalahari Desert, “one of the most rugged and desolate regions on the face of the earth.” The result is a children’s feature so punishing and merciless that it has been nicknamed “The Passion of the Dirkie.” Severin Films proudly presents the “sadistic yet hilarious” (Ilovehotdogs.net) South African survival movie about a boy menaced by plain crashes, infernos, hungry hyenas, angry elephants, spitting cobras, stinging scorpions, dwindling cough medicine, dehydration, and a grueling landscape. Beautifully rendered in Techniscope and Technicolor despite nightmarish shooting conditions that took the film’s crew almost 7,000 miles through the wilderness of Namibia, DIRKIE: LOST IN THE DESERT set South African box office records on its release and traumatized select children all around the world.
“We’re all the better for receiving…
THIS ODDBALL ALL-AGES TRIP INTO AN ARID APOCALYPSE.”
Birth. Movies. Death
- English and Afrikaans Theatrical Release Versions
- New Commentary with Star Wynand Uys and Film Scholar Ernest Mathijs
- … And Your Little Dog Too – An Interview with Producer Boet Troskie
- Poster Gallery
- BONUS FILM: Papam Pasivadu, a Telegu-language re-make from India
The Criterion Collection, a continuing series of important classic and contemporary films presents The Savage Eye.
Los Angeles at the end of the 1950s. A recent divorceé arrives to break free of the past and journeys into the tawdry side of urban life, seeking refuge in salons and strip clubs, among poker-players and faith-healers, near boxing rings and in the drag scene. Out of the darkness, a voice speaks to her, questioning her cynicism and prodding her to find inspiration in the world around her. A hallmark of the direct cinema movement, The Savage Eye is an experimental documentary made over four years, told with poetic elegance by filmmakers Sidney Meyers, Ben Maddow, and Joseph Strick and featuring music by renowned composer Leonard Rosenman and footage shot by acclaimed photographer Helen Levitt and cinematographers Haskell Wexler and Jack Couffer.
- Restored high definition digital transfer with uncompressed monaural soundtrack on the Blu-ray
- New video interview with film critic Imogen Sara Smith
- People of the Cumberland, Sidney Meyers’ 1937 short film directed with Elia Kazan, Jay Leyda, and Bill Watts
- In the Street, James Agee, Helen Levitt, and Janice Loeb’s 1948 short film on street life in New York’s Spanish Harlem
- Muscle Beach, Joseph Strick and Irving Lerner’s 1948 short film
- The Quiet One, two versions of Sidney Meyers’ 1948 film, one featuring a narration by Gary Merrill and another featuring a previously unreleased narration by James Agee
- The Steps of Age, Ben Maddow’s 1950 short film for the Mental Health Film Board
- Interviews with My Lai Veterans, Joseph Strick’s 1971 short film
- PLUS: An essay by film critic Jonathan Rosenbaum
Our second stop along the way the MMC!’s next proposal brings us to New York’s Spanish Harlem in the 1940s and In the Street (1948), a short documentary made by a trio of brilliant American polymaths: critic and novelist James Agee, photographer Helen Levitt, and painter and screenwriter Janice Loeb. The three friends shot the film in 1945 and 1946, near where they lived, with Levitt editing the short into its final version. Originally titled I Hate 110th Street, a phrase captured in an image of children’s chalk graffiti that opened an early version of the film, In the Street began with footage originally shot by Agee that directly engaged with his subjects, capturing the vitality of children mugging at the camera with gleeful abandon. Levitt’s approach for additional footage mirrored her trickery in still photography. Pointing her camera at Agee or Loeb, her sister-in-law, as decoys, she used a right-angled viewfinder to catch her true subjects unawares. While Agee’s footage anticipates the direct cinema movement, Levitt’s sideways gaze reveals urban life at its most unmediated, save for her expert framing. Theorist Siegfried Kracauer hailed the documentary as “reportage pure and simple,” presenting a collection of seemingly random experiences infused with an “unconcealed compassion for the people depicted” and a tenderness that never converts them into “anything but themselves.” The short was also a favourite of Charlie Chaplin, who never tired of imitating its young participants.