Category Archives: Film


“No Gods, No Masters: A History of Anarchism”

The World We Live In

Amos Lassen

I doubt that many of us are aware of how much of a role anarchists have played in social movements and events such as The Russian Revolution, The Spanish Republic, The Paris Commune, The Ukrainian revolution and The Mexican Revolution. From the late 19th century until World War II, anarchists have helped to shape the world we live in. This is what director Tancrède Ramonet shows us in his new film series.

Anarchist’s contributions have been largely forgotten. Probably because anarchists were considered to be so dangerous that forces of the state killed them by the thousands and they were betrayed, arrested, and killed by their own erstwhile revolutionary allies.

The word “anarchy” has come to be a synonym for chaos and destruction and we see anarchists as “black-clad nihilists fomenting violence at peaceful protests.” However, in “No Gods, No Masters” we get a more complex history of a viable social system and the men and women who devoted themselves to making it a reality.

This film is a sympathetic history of a century of anarchist thought and practice and features leading historians and essayists, dramatic archival footage, and commentary. It is divided into sections each based on key events and we get a comprehensive and accessible introduction to the global anarchist movement that was once a mass force that sought not to seize political power, but to destroy it completely.

Part 1: The Passion for Destruction (1840–1906)

Mikhail Alexandrovich Bakunin, the father of Russian nihilism. (Photo by Nadar/Getty Images)

This episode shows how anarchism emerged from the terrible social conditions that workers faced at a time when industrialization provided better hygiene and social standards for some. It was a tome when the life expectancy of workers was 30 years and these were those in misery. Therefore it is no surprise that new approaches would arise. 

We trace the history of early anarchist thought from Pierre-Joseph Proudhon, who declared that property is theft, to Mikhail Bakunin, who advocated violent revolution to destroy the state completely. Both the theoretical and practical origins of the movement are examined here.

Anarchists played an important part in the revolutionary Paris Commune of 1871, which was crushed with an unprecedented brutality that caused the deaths 20,000 people. This was the kind of response anarchists would soon face whenever they succeeded in divesting power from authority.

Anarchists issued a formal declaration of principals following their first international, held in St-Imier, Switzerland, in 1872, in which they advocated free speech, free thought, equality for all, atheism, internationalism, and an end to political parties.

We follow the expansion of the anarchist movement from Europe to America, where it grew and was fueled by disillusioned immigrants. Anarchists spread their influence through general strikes and collective action within the trade union movement, which was concerned with much more far-reaching change than working conditions. The film gives an in-depth look at the Haymarket Affair, which saw four anarchists wrongfully hanged for a bomb that went off during a demonstration against police violence. This influenced anarchist activists such as Emma Goldman.

But even as anarchist-influenced revolts spread, the movement faced a sharp division between those advocating “propaganda of the deed” (bombings and other violent acts that would serve as a catalyst for revolution) and those who were in favor of the more incremental gains of syndicalism.

Part 2: Land and Freedom (1907–1921)

The early 20th century, anarchists in France were powerful enough to draw the French president to an event. In England, they were considered so dangerous that when they occupied a London building, it took the full force of heavy artillery and 800 police officers to get them out.

Here we see the differing strains within the anarchist movement during the height of its popularity (when it seemed that an anarchist revolution might take place). This was an tie of social ferment and experimentation (including “communal living, nudism and gender equality; educational reform designed to usher in the development of “the new man”; the resurgence of propaganda of the deed in the guise of violent robberies and shootouts with police; and the participation of anarchists in revolutions from Mexico to Russia”).

Anarchism began to fade in Europe during the years leading up to World War I, but the 1910 Mexican Revolution reignited the struggle and drew the support of anarchists and anti-authoritarians including the thinkers and activists Peter Kropotkin, Emma Goldman, and Joe Hill of the International Workers of the World. Despite the early gains of the Zapatistas, they were betrayed and slaughtered by their allies. Anarchists who participated in the 1917 Russian Revolution had the same fate. After having their support in toppling the government, the communists suppressed them. While it seemed that the dream of an anarchist revolution was within grasp, World War I would put an end to popular revolt. A movement that had once seemed to be ready to take over the world was now severely weakened.

Part 3: In Memory of the Vanquished (1922–1945)

This episode begins with the United States during the Depression, and the galvanizing role of the conviction and execution of Sacco and Vanzetti. This was a period during which anarchists were seen as bomb-throwers, drunkards, and Bolsheviks. America saw trade unionism and any fight for workers’ rights as an existential threat and anarchists could not be tolerated. The government and police sometimes teamed up with organized crime to fight them.

Anarchists, including the strain of thought to which Nicola Sacco and Bartolomeo Vanzetti belonged, was responsible for a series of bombings in the US. To protest their arrest, the world’s first car bomb exploded on Wall Street and killed 38 people. Communists saw the pair as martyrs, and fought for their release in a calculated attempt to win over anarchist sympathizers.

We see the appropriation of anarchism by communists, and of anarchist symbolism by fascists in France, Italy, and Spain. The Spanish Revolution of 1936, was heavily anarchist in Catalonia. Remarkable newsreel footage from Barcelona shows life in a city run largely on anarchist principles, with collectively run arts organizations and companies, and without bureaucracies and bosses. But this did not last and anarchists entered the republican government in order to face Franco’s fascists. The anarchist militias were absorbed into the republican troops. The defeat of the Spanish Republic, anarchists were squeezed between Stalinists, fascists, and capitalists, and were soon in disarray and the movement seemed doomed.

The three episodes give us an in-depth historical perspective on the anarchist movement and also makes implicit links to the present. Anarchism arose in a period of inequality and social unrest. Despite the diversity of thought among anarchists, the popular perception has remained remarkably static from opponents on both left and right and they are seen as violent nihilists. This film tries to rectify that view, and raises the question of whether anarchist thought could perhaps appeal to a new generation of activists as well.

“CANDY APPLE”— A Black Comedy


A Black Comedy

Amos Lassen

Visual Artist Dean Dempsey directed this film based upon his biological father and true stories that are strung together in a fictional narrative. “Candy Apple” follows Texas Trash as he struggles to get sober while his son Bobby attempts to begin a career in filmmaking. Bobby tries to cast his own father and the neighborhood characters that inspire him but constantly fails in obtaining a finished project. 

Trash has all but abandoned landing a job or reigniting his band as planned, and is at the heels of local eccentric, Roxy. With the help of hallucinogens, the two have regular adventures through New York and other worlds.

Because he was flat broke, Bobby supports himself through sex work that his beloved, Lady, organizes for him. He does not share this with Trash, who has a secret of his own in how to earn cash. With no prospects of legal employment, Trash lands a gig moving drugs in a small distribution ring for a cut in sales. 

When Bobby learns of Trash’s relapse and near fatal overdose, his confidence and belief in his father is broken. The film ends where it begins, with the father and son struggling to balance desire with reality but never getting it right. Here is New York seen as grimy and filled with an assortment of intense, oddball characters that are low on cash but high on ideas.

The film follows a father and son as they try to survive in New York, and the undercurrents of vice and addiction that undermine their thoughts of a better life or an artistic life. The film is a collaboration with CREEM Magazine. It is homage to New York’s gritty Lower East Side of the ’70s & ’80s.

Punk rocker Terry Trash is double-amputee who moves back to New York to room with his adult son Bobby (Dempsey) in a small apartment on the Lower East Side.  Bobby is reluctant, but committed, to helping his ex-junkie father, all the while trying to stay focused on his own creative pursuits.  Bobby tries to cast Trash and the neighborhood characters that inspire him, but constantly fails and turns to sex.  Meanwhile, Trash has all but abandoned landing a job or reigniting his band, and, instead, has befriended local eccentric, Roxy (Neon Music) and they set out for a life of adventures. The film ends with a father and son struggling to balance desire with reality but never able to do so.

“TRUMAN”— Friends



Amos Lassen

Julian (Ricardo Darin) was born in Argentina but has found steady work in Spain as an actor in film and stage productions. His long-time friend Tomas (Javier Camara) comes from Canada where he lives with wife and children and Julian is very pleased to see him. Tomas, however, teaches at a college, can only spend four days with him. They make the most of their time together.

In conversations in bars and cafes, they reminisce about the past and try to come to terms with Julian’s diagnosis of lung cancer (which has spread all over his body) and impending death. He has decided to stop chemotherapy and other treatments. Although Tomas might be tempted to try to change his mind, he knows better than to do so. Instead, he accompanies his friend as he goes about getting his affairs in order.

Julian is determined to make all the key decisions himself. He visits a funeral parlor to decide what should happen to his body. He talks with his cousin Paula (Dolores Fonzi) and then makes an impulsive visit to Amsterdam to see his college-age son (Oriol Pla). The most heart-affecting scenes are those in which Julian expresses his love and concern for his beloved bullmastiff named Truman. He even asks a veterinarian whether or not animals experience grief and what he can do to make his passing less traumatic for the dog. When he leaves Truman for an evening with a family that is considering adopting him, Julian reveals terrible pain thus getting a preview so deep that the moment becomes a of the other losses that will come with death.

This is an insightful, subtle, sensitive look at a difficult topic. Everything about the film — acting, directing, writing, mood setting — is just right. We realize, after seeing it, that we have had a spiritual encounter with dying, friendship, and love.

This has to be one of the warmest bromances we will ever see. This is a film about the mechanics of friendship, ageing and the inevitability of dying. It is also about human. With Tomás looking on as non-judgmentally as he can, Julian defies convention to define the terms of his own mortality. The two men are firmly in touch with their emotions but there’s no renting of cloth and barely a tear as they face the simple reality that Julián’s life is coming to a close.

The film has emotionally authentic moments that take place over a short period of time and it is gorgeous to watch. The performances by Darín and Cámara perfect as well. You never doubt the intimacy of the friendship between these men. As in life, they are as different as night and day and this probably explains their simpatico relationship.. Julián and Tomás subtly change as the film goes on. We see Julián’s bravado diminish as the gravity of his circumstances gradually sinks in, while Tomás’ initial uneasiness dissipates as he steps up to the plate. Truman’s fate rests in a grand gesture of trust and love.

“THE MADNESS OF KING GEORGE”— A Meditation on Power

“The Madness of King George”

A Meditation on Power

Amos Lassen

“The Madness of King George” by Alan Bennett, based on his stage play of the same name is a meditation on power and the metaphor of the body of state, Bennett uses the real episode of dementia experienced by George III (now suspected as a victim of porphyria, a blood disorder) to show this. As he loses his senses, he becomes both more alive, and more politically marginalized while his Lieutenants adapt the rules to avoid a challenge to regal authority, raising the question of who is really in charge.

This is both a funny and oddly poignant play about the British monarch who lost America (and quite possibly his mind). Nigel Hawthorne, who originated the role of George on stage repeats it brilliantly in the film with a subtly calibrated performance. He undergoes emotional rages, bouts of dementia and sudden attacks of lucidity and these give the film it’s most amusing and touching moments (and an Oscar nomination for Hawthorne).

It was at the very end of the 18th century that George III sent his court and country into a whirl over his sudden, strange behavior. He raged, yelled obscenities, rambled endlessly, attacked his mistress (Amanda Donohoe) and was unable to control his bowels. While quack doctors took his pulse, observed his stools and induced hideous heat blisters all over his body, the king’s courtiers and associates split into two factions. The king’s supporters included Prime Minister William Pitt (Julian Wadham), who needed to reassure the House of Commons that all was well with the royals, and George’s protective, loving wife, Queen Charlotte (Helen Mirren). On the opposing side were the indolent, ambitious Prince of Wales (Rupert Everett) plotting with Pitt’s political adversaries to have himself declared Regent.

Hope for George’s recovery was with visiting doctor Willis (Ian Holm), a physician with innovative, pre-Freudian ideas about psychotherapy, who restrained the king and treated him like a child. We have questions about whether Willis’s method would work and if the king was indeed mad and they remain with us until the end of the film. However, what matters most in this satire, directed by Nicholas Hytner is the marvelous dialogue. Hawthorne gives the whole movie both a nutty and tender authority.

The prince, who had not counted on this recovery, pretended to have great concern and relief for his father’s condition and the king promised his wife he would be gracious to his son and think loving, noble thoughts but, of course, that does not happen.

In 1788, after fathering 15 children and looking after England’s best interests for years, the monarch was hit with a mysterious malady that played with his digestive system and resulted in some aberrant behavior. King George’s loyal supporters were quite shaken by his incoherent babbling, the loss of his regal bearing, and some unseemly fondling of the queen’s lady in waiting. He confided to his long-suffering wife, “I hear the words and I have to speak them. I have to empty my head of words. Something is not right.” Eventually, the king was handed over to Willis.

King George valiantly tried to handle the indignities of his malady and what he called “paradise lost” — the American colonies. Helen Mirren is affective as his loyal wife, and Rupert Everett is well suited to be the Prince of Wales who schemed to be declared regent during his father’s descent into madness.

We see how illness can turn one’s world upside down and test us. Thanks to Dr. Willis, the king returned to the throne and regained his old self. We feel that because of an illness, he became more soulful and a little bit wiser. 

“BLACK IS THE COLOR”— Taking Back an Image



Taking Back an Image

Amos Lassen

Jacques Goldstein’s “Black is the Color” is a look at African-American artists who decided to give a different image. Having been faced with racist caricatures, the artists rebelled against the image of degrading stereotypes of a brutally racist society but because these artists had been so ignored and marginalized, they had to wait a hundred years before they finally won the recognition they rightfully deserve. This film tells the story of how African-American artists how they did this. Now, a century and a half after the abolition of slavery in this country, the Museum of Modern Art in New York has just hired a black curator to fill the hole in the absence of African-American artists among its collections.

The term “The Color Line” was first coined over a century ago and it supposedly determines who is black, and who is white and implies who is superior and who is inferior. Now, finally, the time has, at last, come to do away with the segregation that has virtually kept black art out of American museums and leaving it on the fringes of the art market but getting to this point has been difficult.

The film focuses on African-American artists’ long march to obtain recognition and that march took place alongside the struggle for civil rights in the United States. Their image had been rather degraded by a discriminating white perspective in a segregated society.

Works by African-American artists are now on show in the most prestigious museums, and their paintings are selling for fortunes at auction. Yet for over a century these artists were ignored by galleries, looked down on by the critics and as a result remained largely anonymous to the general public.

From the 19th century onwards the goal of African-American painters was to reclaim ownership of their image, and this remains the goal of today’s artists as well.

The film juxtaposes works of art with the historical documents and footage of the major moments in this battle for civil rights and features interviews with the young artists, curators and collectors who have played their part in earning this recognition.

However, racist stereotypes are as powerful as ever and the question as to whether African-American art will be able to disconnect itself from the issues that gave rise to it is uncertain.

Art historians and gallery owners place African-American visual art against the larger social contexts of Jim Crow, World War I, the civil rights movement, and the racism of the Reagan era. Meanwhile, contemporary artists discuss individual works by their forerunners and their ongoing influence.

This is a much-needed survey of great work by artists whose contributions have been neglected by the mainstream art world for much too long.

“THE TOWER”— Collective Flight


Collective Flight

Amos Lassen

Set in East Germany during the last ten years of Communism, Christian Schwochow’s “The Tower,” is a German mini-series about the lead-up to a moment of collective flight. When the end came for the German Democratic Republic, it came quietly in the form of a radio broadcast with an official voice announcing to the populace that there would no longer be any restrictions on border crossings. What started as a trickle of refugees became a deluge. “The Tower has multiple story-lines and large cast of intersecting characters that shows what life felt like to those who lived at that singular time in an unchanging political system before the rules changed, seemingly overnight.

Richard Hoffman (Jan Josef Liefers) is a surgeon at a clinic in Dresden, with burn tissue all over his back that is a painful and eternal reminder of the 1945 firebombing of his hometown when he was a child. He is married to a nurse (Claudia Michelsen) and they have a teenage son named Christian (Sebastian Urzendowsky). Richard has been carrying on an affair with his secretary that has resulted in a child who is now 5 years old. Hoffman goes back and forth between the two homes, and his wife supposedly knows nothing about the second family, although you can see her give him a couple of sharp glances on occasion. The mistress wants Hoffman to get a divorce however he knows that is impossible due to professional and personal reasons. The Hoffman family is part of the bourgeoisie in “The Tower” ; they are an elite group of doctors and book publishers and musicians. Their private lives are as chaotic as their public lives are appropriate. In such a political system, lying is a necessary skill.

Meno (Götz Schubert) is a book publisher who works with authors to remove potentially problematic passages in their novels. He is a man who loves literature, and he has been forced to become a censor. He hates this and it takes a psychological toll on him especially when he is assigned to work with an author (Valery Tscheplanowa) who refuses to edit her novel about the Red Army’s rape of German women upon invading the country and she is thrown out of the Writer’s Union because of this and we see her as an exile in her own country, all publishing doors closed to her. Meno is haunted by her and Hoffman’s mistress (Nadja Uhl) is desperate for her lover’s protection and attention, and becomes a liability when he turns his back on her and their daughter. While these are private matters, they get the attention of the Stasi, who can use it to blackmail Hoffman. 

Director Schwochow keeps these plot-lines moving smoothly and briskly, filming everything in a cold green-tint, suggesting that the world behind the Iron Curtain is devoid of color. The film is at its best strongest when it shows the direct connection between State control and private life. We see this clearly in Meno’s relationship with the censored author and in Christian’s increasing trouble with authority. Christian’s schoolwork is propaganda, and school papers are graded according to whether or not they express the proper “class attitudes.” Christian starts getting in trouble for reading non-approved books, and his parents become very uneasy. He was raised in an intellectual household, and yet in public he is meant to toe the party line. His parents encourage him to live the same kind of life that they do life that they do but he is unable to comply with their wishes. It is heartbreaking to see Christian change from a sweet teenager to tough-minded veteran of multiple authoritative organizations.

There is danger that Meno faces when he tries to smuggle the author’s banned manuscript out of the country to more welcoming publishers in the West. Meno moves from a laughing, confident man to a ruined shell of an individual and we see what politics have done to talented minds like his.

As the film moves into 1988, the scenes get shorter and the pace becomes more relentless, hopping from one person’s arc to the next and then back. In the final half-hour of the film, individuals face the crack-up of the State in their own individual ways and the demand for freedom and liberty destabilizes the entire atmosphere. Characters look at one another with an open sense of awe and fear in their faces as they wonder if this is really happening. “The Tower” is a powerful and engrossing look at the moment in history when the tide started turning and when the people are shaken out of their apathy.

“THE NIGHTMARE”— Fantasy and Reality


Fantasy and Reality

Amos Lassen

Director Akiz plays with concepts of fantasy and reality, as we move from one dream sequence back to reality while never being quite sure if the incubus that Tina (Carolyn Genzkow) is haunted by is a nightmare or a living creature. The plot evolves slowly a girl’s vision to a fright fest at a party. There is some kind of creature that is sexual but never explained.


Tina is 17 years old and seemingly has everything a girl her age could wish for. Then one night after an intense party, she begins to have severe nightmares and is haunted daily by a hideous creature. Her parents do not believe her story. The only one with whom she feels she can talk about her fears is her psychiatrist.  

The film transplants Johann Heinrich Füssli’s famous painting of the same into the modern Berlin party scene and we experience an assault on the senses by the electronic soundtrack and strobe lighting during a rave that is the film’s opening scene. In its own way, the rave is aligned with the heightened and overwhelming emotions of adolescence especially for Tina who is suggested to have a history of psychological concerns. The rave, we think, has something to do with her vision of her own death before it is revealed to be some kind of hallucination.

At this point, the line between fantasy and reality is almost non-existent and it is up to the viewer to decide what they believe is happening. When the creature arrives it seems, to all intents and purposes, to be real. Its intentions and origin are mysterious and the only clue we get comes in a, as are its origins. The most potent clue comes in a sequence when Tina is at school and is asked for her interpretation of a poem by Blake that other students have claimed is about birth. She agrees that it’s about birth but it is also about an abstract and growing nameless feeling.

Although the film has no intention of defining what this little monster is, Tina is encouraged by her psychiatrist to make physical contact with it. Tina must befriend this externalized manifestation of her own anxiety but she fears social rejection. Akiz seems to be aiming for a visceral and palpable reaction in this dark tale that makes for creepy and affecting viewing.


“FAITHFUL”— Struggling



Amos Lassen

Lauren (Clarissa Hoffmann) is still in love with her husband Ron (Ellis Miller) even though he has already moved on and in a relationship with another woman (Sarah Schulte). The more distant he becomes regarding Lauren, the more she is set upon getting him back even with the fact that he is involved with someone else. Even though Lauren has always wanted to be a doctor, she quits medical and seems not to understand that she and Ron are unable to work on the marriage if they do not see each other and that he is already involved with someone else does not seem to be important to her.

Lauren manages to get Ron to go to counseling, but he’s equally unwilling to work with the therapist (Eddy Lee) causing her to become even more upset. Lauren is growing more and more upset and desperate.

May-Anne (Cynthia Aileen Strahan), Lauren’s fellow student and friend and Lauren’s mother, Mrs. Clarice (Eve Coquillard), are very concerned over Lauren’s fragility that is a result of all of this but have no idea about what to do. As the situation nears a crisis, they intervene even though there is really nothing they can do to help. When the situation inevitably reaches a crisis they’re forced to intervene even though there may be quite literally nothing either of them can do to help.

What we really see in “Faithful” is a look at a marriage that failed through the eyes of one of the female participant. Along with the failure of the marriage the loss of comes self-esteem making the fallout so much more intense. It is not easy to watch Lauren demand explanations from her former husband and it hurts to hear what Ron has to say to her. It is the case that his love affair was meant to hurt her. The marriage is over and as much as we come to care for Lauren, it is difficult to accept her behavior and she needs to accept the fact that her husband has moved on. It is difficult for Lauren to accept that her marriage has failed as it means that she too has failed. Lauren just is unable to let go.

The screenplay is well written and the actors and direction is excellent. This is not an easy film to watch and it will say with you after the screen goes dark. As Laura reminds us that she has been exclusively faithful to her husband, we wonder if she has been too faithful. Director Niklas Berggren knows what he wants us to see and why and this is probably in the hope that can understand and relist what he is doing here.

Clarissa Hoffmann turns in a bravura performance as Lauren. Because Laura tried so hard, we often feel that she is a pain until we come around and realize what is happening. Not only is she trying to save a marriage that cannot be saved, she is also trying to save herself. As Ron, Ellis Miller is detached but he also seems to understand Laura’s need to not give up. need to hold on. As I said before that the acting is excellent all around, I want it be understood that I am specifically referring to Cynthia Aileen Strahan as Mary-Anne and Eve Coquillard as Lauren’s mother.

“WHISKY GALORE”— The War is Coming

“Whisky Galore!”

The War is Coming

Amos Lassen

As World War II is making its way to the Scottish island of Todday, Captain Wagget (Eddie Izzard) and the Home Guard, work to set up military order, hoping to protect the locals through observation and border protection. However when stockpiles of the neighborhood’s whisky are depleted due to rationing, there is a drought for the bottle-draining locals and panic sets causing the cancelation of future events, including the weddings of both of postman Macroon’s (Gregor Fisher) daughters.

Then there is a miracle that occurs in the middle of the night— a cargo ship crashed in the nearby sea and Macroon and his neighbors realize that they’re in possession of 50,000 cases of whisky. Now the residents hope to restart everyday life now that there’s alcohol to share but Wagget is determined to follow though his orders and maintain regulation, and searches for the missing whisky.

Macroon is a lifelong resident and widower who has raised his daughters Peggy (Naomi Battrick) and Catriona (Ellie Kendrick) now are the verge of marriage. Todday residents are forced to hide the whisk from customs agents, Mr. Brown (Michael Nardone), Macroon’s nemesis.

This is Gillies Mackinnon’s remake of the original film that was made in 1949 and it is great fun. Much like the original, Mackinnon’s movie sets out to celebrate the Scottish Islanders as they trick the British establishment. However, this remake also places emphasis on the complexity of family relations, and the difficulties faced by parents once their children leave home.

The gorgeous cinematography highlights the beautiful surroundings of the Hebrides and the way people lived in a simpler time. I can only wonder why the film was remade since it is so much like the original in an almost identical way to the original. I imagine that this is because it is not easy to access the original.


“George Romero Between Night And Dawn”

A Limited Edition Blu-ray + DVD Set

Amos Lassen

George Romero’s name is linked with his living dead films, but this set shows that he is more varied than that. After the success of his first feature “Night of the Living Dead”, Romero began a series of projects that demonstrate that he was a master filmmaker.

“There’s Always Vanilla” is about young drifter Chris and beautiful model Lynn begin a tumultuous relationship that is doomed from the outset. Chris returns to his home city of Pittsburgh and moves in with an older woman upon whom he begins to rely for emotional and financial support.

“Season of the Witch” (released theatrically as Hungry Wives) is about Joan Mitchell a bored, unhappy suburban housewife who gets mixed up in witchcraft and murder when she tries to escape the confines of her humdrum suburban lifestyle.

In “The Crazies” we go back with Romero to horror as sees Romero returning to firmer horror territory as the inhabitants of a small Iowa town suddenly plagued by insanity and then death after a mysterious toxin contaminates their water supply.

When we take these three films together, we get a better picture of Romero’s broad themesand skilled craftsmanship. The set is filled with bonus material that includes:

            High Definition Blu-ray (1080p) and Standard DVD presentations

  • Original Mono Audio (Uncompressed PCM on the Blu-rays)
  • English subtitles for the deaf and hard of hearing
  • Reversible sleeve for each film featuring original and newly-commissioned artwork by Gilles Vranckx
  • Limited edition 60-page booklet featuring new writing on the films by Kat Ellinger, Kier-La Janisse and Heather Drain

Brand new 2K restoration from original film elements

Reversible sleeve featuring original and newly-commissioned artwork by Gilles Vranckx