Monthly Archives: August 2019

“How to Be a Good Gay Bottom” by Ryan Field— No Wonder It is Published by the Author

Field, Ryan. “How to Be a Good Gay Bottom”, Ryan Field Press, 2019.

No Wonder It is Published by the Author

Amos Lassen

I have nothing against self-published books and in fact many of the books I have read and enjoyed have been self-published but there are always exceptions and this is one. I doubt if any publishing house would have this title. Ryan Field says he has been writing gay books for 20 years and I don’t doubt that. I have read several of his books and I have always felt that I am reading the same book with a different title and with characters who have different names. It takes quite a bankroll to publish as many titles as Field has done and a sense a strong sense of narcissism. It is very difficult to move from being a hack writer to being a good writer and I have been waiting in vain to see that happen here.

I am no prude but I do find the title offensive but then if you have a look at any of the reviews of Field’s work and see who reviews him, you might understand this a bit better. Paul, a gay virgin, who is “not only terrified of anal sex he doesn’t even know how to be a gay bottom.” He meets Gordon who is running for Governor as an openly gay man, and Paul absolutely despises the dirty business of politics yet he continues to see Gordon, because “there’s something decent about Gordon he can’t ignore.” Gordon makes him feel like the kind of man he’s always wanted to be, and for this Paul is determined to learn how to be a good gay bottom, and he will let nothing stand in his way to get there. Veys mir—the things we do for love—he hates the man’s politics but the man makes him feel good so he gives up his virginity. He probably should have learned to be a good top instead.

“Overthrow: A Novel” by Caleb Crain— A Thriller About Contemporary Manners

 

Crain, Caleb. “Overthrow: A Novel”, Viking, 2019.

A Thriller About Contemporary Manners

Amos Lassen

In Caleb Crain’s brilliant new novel, “Overthrow” of how we live today, we meet Mitchell, a graduate student as he is walking home. He sees Leif on his skateboard and is immediately attracted to him. As the two men chat, Leif invites Matthew to meet some of his tarot card experimenting friends who claim that it is quite easy to discover what people think. Before long, Matthew who should be working on his dissertation, is both involved in the group and quickly falling in  love with Leif, after all, they do share a love of poetry.

When the group visits the Occupy movement’s encampment, “they hope their ideas about radical empathy will help heal a divided world and destabilize the 1%.” Instead they have trouble with a freelancing security contractor. They eat and at the faith and on the powers they’ve been nurturing damaging love relationships. Elspeth and Raleigh, two of Leif’s oldest friends, are tested and must see if  their relationship can stand criminal charges; Chris and Julia, have their loyalties tested; and Matthew is forced to decide exactly what he owes Leif to maintain his love entranced by the man at the center of it all, will have to decide what he owes Leif and how much he’s willing to give him.  The characters face “a time of reckoning with the ambiguous nature of transparency and with the insidious natures of power and privilege. This is the story of what can happen as a result of searching for a new morality in a world controlled by technology, law and surveillance that change our boundaries and who we are. In this kind of world ambiguity and unease are characteristic of how we live and love.

Writer Crain examines candor, truth and the utopian spirit in the modern world that is controlled by  technology and surveillance. Written in gorgeous lyrical prose we see that being aware is the best way to defend ourselves during these changing times. Our story is told as an intimate love story that is both romantic and realistic and also terrifying.
The Occupy moment has made a stronger critique of capitalism popular  and led to overt forms of surveillance. As our characters deal with strains on their friendships, we see how surveillance affects how we think, relate and communicate to each other. I was totally engrossed the entire read and am still thinking about it.

“Over the Top: A Raw Journey to Self-Love” by Jonathan Van Ness—A Memoir

Van Ness, Jonathan. “Over the Top: A Raw Journey to Self-Love” Harper One,  2019.

A Memoir

Amos Lassen

Before we met Jonathan Van Ness on Netflix’s “Queer Eye,” Jonathan Van Ness was growing up in a small town in the Midwest where the other residents did not understand him or his lifestyle and thought of him as being a bit too much.  He was, back then, so very gay and an easy target for ridicule and resentment. These, however, did not bother him and he “just kept truckin’”.

His memoir, “Over the Top” shows us the pain and passion it took for Jonathan to become the model of self-love and acceptance that he is today. Van Ness shares never-before-told secrets and reveals sides of himself that the public has never seen. While his fans may think they know him as the man in the stiletto heels, crop tops, and the iconic sayings, they will see how there’s much more to him than just those.

“Going Dutch: A Novel” by James Gregor— A Look at How Some Live

Gregor, James. “Going Dutch: A Novel”, Simon and Schuster, 2019.

A Look At How Some Live

Amos Lassen

In “Going Dutch: A Novel”, author James Gregor wonderfully captures how his main characters thinks and that he sees himself as sympathetic even when he behaves in a horrible manner. Gregor explores contemporary social mores in a wonderful novel that keeps you turning pages as fast as you can.

Richard is a graduate student who is tired of the gay dating scene and he is lonely even though he is rarely alone. Still in his twenties, he is constantly surrounded by friends but that does not help his sense of alienation. He is anxious and is dealing with severe writer’s block and this could damage his graduate funding, make him poor,  without direction and single.

Anne, his brilliant classmate offers to write his papers in exchange for his company even though he is obviously gay. But he needs her help, and it’s nice that Anne has brought him into her lifestyle. As might be expected, what started as a relationship based upon help becomes a great deal more complex.

Then a one-night-stand with Blake, a good looking and successful lawyer is becoming more serious and Richard is unable to cut himself off from Anne and her lifestyle of privilege. Both of Richard’s relationships head toward something more serious and he realizes that from which not much good can come.

This novel is a look at relationships today’s digital age as well is an exploration of love and sexuality, and what we seek from and do to each other. Every few pages we find some kind of look that brings us to laugh, to be mortified and to admire and this is no easy task for a writer. Gregor gives us a look at contemporary social mores.

The plot, the characters and the relationships are deeply engaging and the prose is lyrical. There are notable secondary characters and he way he writes about New York liberal intelligentsia is wonderfully satirical. Richard’s double life must come crashing down and when it does, it is spectacular. The three main characters are human and very complicated and they share what they think about life.  We see what Richard can’t—that his actions are driven by shame and insecurity.

Richard does not move forward because that’s the choice he has made. He relies on pity and sympathy and he is unable to make a choice. He’s self-centered and has no sense of no morality. Most of us will not agree with many of the choices that the characters make.  We spend six months with Richard and learn that he relies on stipends for his studies to finance his existence. In addition to lavishing money on him, Anne does some of his academic work and when the relationship begins to take a new direction, Richard begins to question his sexuality. With Blake things become ever more complicated. All that Richard can bring to any relationship is to make the other person feel needed.

We hope that Richard might grow up and become a better man. He isn’t lovable or fascinating but what is unique is that the book is. The idea of gay millennials trying to survive the modern online dating scene to find the right person is great but let’s face it, no one in this novel is likeable yet taken as a whole, the read is a very fine experience.

 

 

 

“YOMEDDINE”— Day of Judgment

“YOMEDDINE”

Day of Judgment

Amos Lassen

My Jewish readers who sound out the title of this film, “Yomeddine” will recognize that the Arabic title is very similar to the Hebrew Yom HaDin or Judgement Day in both languages and how appropriate that the movie is released on DVD so close to Yom Kippur, the traditional Jewish Day of Judgement.

Austrian-Egyptian director A. B. Shawky’s “Yomeddine” is reminiscent of the art films of early 1990s art-house hits and it is also a rarity since films made in Egypt are I themselves rare on American screens.

“Yomeddine”  has both sentiment and grit found and it has an embracing and nonjudgmental theme. It all begins with Beshay (Rady Gamal) who we see scavenging for metal in a trash heap, aided by a 10 year-old orphan, Obama (Ahmed Abdelhafiz). Beshay is a Christian around 40-years-old (so he thinks) and had leprosy decades ago and now has scars all over his body. Most of his life  has been lived in a desert leper colony, the one place where no one is afraid to touch him. He is a recent widower who begin to search for what is left of his biological family. All he knows is the name of his father and the village where he lives.

He acts on impulse heading south on his donkey-drawn carriage with all of his possession onboard and a young stowaway named Obama. The boy’s real name is Mohammad, but he goes by the name Obama because of “the guy on TV,” and probably because he has been ostracized; he has a darker complexion than the other orphans.

The story line follows the map of many a road trip movie and includes theft, transportation problems, the kindness of strangers but what is special is the sense of location and the integrity and authenticity of Shawky’s ensemble of actors who are all nonprofessional  that give the film a straightforward voice.

Any description of the story is going to make it sound like a grim social drama, which it most definitely is not. The film has some of the same heart-tugging picaresque qualities. Beshay is no longer contagious but the scars, lumps, and twisted hands are forever. His sense of humor is a constant and he absolutely has no self-pity. One day, Obama, a ten-year-old Nubian orphan, attaches himself to Beshay and never leaves.

The two run away together to pursue Beshay’s dream to find the family that long ago abandoned him as a child at the gate of the leper colony in the middle of the night. This is a modern folk tale about a remarkable odyssey of as a tour through 2019 Egypt. Director Shawky loves the vistas of this rural land of villages and squatter camps, green fields, and the mighty Nile that we see as little more than muddy stream where kids take dips alongside the cattle.  (I had the same feeling when I saw the Jordan River for the first time).

Beshay and Obama ride the donkey cart until the donkey dies. Then they hitchhike, freeload on trains, and get help from a legless professional beggar, who introduces them to the little colony of other outcasts who live together under a bridge. Obama and Beshay bond the deeply in a father-son relationship. At its serious core, “Yomeddine” is about fathers and sons as well as about acceptance and forgiveness.  Beshay and Obama each face a terrifying moment of truth, in which their identity and future is at stake, and they manage to come out of it whole.  

Leprosy, poverty and a story of social exclusion are the unlikely ingredients for the deeply engaging and often funny road movie yet it works here beautifully. If there is a message here,  it is that we should not be too quick to judge others. There will come a day when we are all equal, Beshay says. Shawky sees the good in people and uses humor, even in miserable conditions and poverty. He is helped by the down-to-earth charisma of his leads and the film takes its tone principally from Gamal’s performance with his determination not to fall into despair or self-pity. This is an accomplished appeal for empathy and an entertaining journey of discovery.

“THE SOUND OF SILENCE”— Mapping Tones

“THE SOUND OF SILENCE”

Mapping Tones

Amos Lassen

Writer-director Michael Tyburski’s “The Sound of Silence” is “a symphony of almost undetectable sounds that make up a moment of silence”. Peter Lucian (Peter Sarsgaard) is determined to catalogue all of these sounds. Through his job as a New York City “house tuner,” Peter “works meticulously to diagnose the discordant ambient noises-produced by everything from wind patterns to humming electrical appliances-adversely affecting his clients’ moods.” He takes a particularly difficult case of Ellen (Rashida Jones), a lonely woman dealing with chronic exhaustion and finds that the mysteries of the soul can be even greater than the mysteries of sound.

The idea  that happiness is dependent on the sounds around us drives Peter as a music theorist and self-proclaimed house tuner and he is obsessed with this. He is eccentric and determined and goes from house to house to see if noises in one’s homes clash. He then makes the slightest adjustments to appease one’s equilibrium. Peter’s philosophy is that one has a relationship with the home as if it was a partner and nearly all of one’s problems can be boiled down to this relationship being in a bad condition. He goes all over Manhattan and has been working towards his bigger project of mapping the shared tone of each neighborhood, which approves his accuracy at solving the problems of his clients.

Living a life of solitary obsession, Peter who lives a life of solitary obsession but he slightly opens up when he meets his new client Ellen who believes that her exhaustion might have to do with the soundscape of her apartment. As he awkwardly sits on her bed and asks her with a solemn sincerity if she’s a side sleeper, we see the kind of humor that we will have here. Peter is the kind of guy who senses a disturbance in his apartment and so he walks up flights of stairs to his roof to shut a door that was left ajar to fix the problem.

Director Tyburski looks at some potentially compelling threads. Peter  has invented a useful tool that corporations have utilized for mass consumption, but he’s never been interested in this capitalistic route. He sees himself as an explorer and leader in the field and not a salesman. When he is offered a chance to take his methods to the population by a corporation, he turns it down.  He sticks to his values.

It is not the narrative that pulls you in; rather it is the performances. Peter is quite successful in his profession. There is a  poignancy to the film and because Peter is a character who works with sound frequencies, the sound mixing is fantastic and it plays as its own character. When those frequencies go away, so do his emotions.

The biggest problem here is how the narrative is set. It’s a subtle romantic drama that is enjoyable to watch but the comedy often falls flat. The romance between Ellen and Peter is the best thing about the movie and also the worst because it is so vanilla. The relationship is presented as something where the balance comes from each other, but the way it takes place is silly and leaves questions. While the film is quiet, short, and has a lot to appreciate but some it falls flat. The film is defined by sound and the lack of it.

“THE HOURS AND THE TIMES”— What Might Have Happened

“THE HOURS AND THE TIMES”

What Might Have Happened

Amos Lassen

“The Hours and the Times” was originally released in 1991 during the height of the New Queer Cinema movement. Christopher Munch  directed this original and fictional account of what might have happened in April 1963, when John Lennon and Beatles manager Brian Epstein traveled to Barcelona for an extended weekend vacation. In the four days they provocative Lennon (Ian Hart) reflect on their lives, both private and professional, as they explore their unique bond. Filmed in black-and-white, this is a thoughtful meditation on friendship and sexuality.

We know that Epstein was gay. and felt physically attracted to Lennon who felt emotionally invested in Epstein. There isn’t much of a script and what there is filled with banter. We see how so much can be said through the visual medium of film. A movie doesn’t need to be loud to resonate. Director Munch gives his characters room to breathe and trusts his audience to use their imaginations and become part of the process.

Lennon constantly berates Brian about Brian’s homosexuality and religion (Epstein was Jewish), but Brian tolerates it. He has a crush on John, and John seems more than a little curious about taking things beyond the friendship stage.

Christopher Munch shot the film in black and white and Hart and Angus are great as Lennon and Epstein, making the pair’s friendship very natural. The film was remastered and restored for Sundance 2019 and will soon be available to the public on DVD and Blu ray.

“THE MAD ADVENTURES OF “RABBI” JACOB”— A Slapstick Comedy from 1973

“THE MAD ADVENTURES OF “RABBI” JACOB”

A Slapstick Comedy from 1973

Amos Lassen

Comedy is everywhere in d Film Movement’s “The Mad Adventures of “Rabbi” Jacob, a 1973 cult classic filled with frantic disguises and mistaken identities. Victor Pivert (Louis de Funès) is a blustering, bigoted French factory owner who finds himself taken hostage by Mohammed Larbi Slimane (Claude Giraud), an Arab rebel leader. The two dress up as rabbis as they try to elude not only assassins from Slimane’s country, but also the police, who think Pivert is a murderer. Pivert ends up posing as Rabbi Jacob, a beloved figure who’s returned to France for his first visit after 30 years in the United States. Adding to the confusion are Pivert’s dentist-wife, who thinks her husband is leaving her for another woman, their daughter, who’s about to get married, and a Parisian neighborhood filled with people eager to celebrate the return of Rabbi Jacob (Marcel Dario).

The film was a showcase for de Funès, one of the most popular French comic actors of his time. Directed by French filmmaker Gerard Oury, the film was nominated for “Best Foreign Film” at the 1974 Golden Globe Awards. The National Board of Review said it is, “The funniest picture of the year,” with kudos to Louis de Funès as “in a class with Woody Allen”. 

Rabbi Jacob (Marcel Dalio) is one of the most loved rabbis of New York. One day, the French side of his family, the Schmolls, invite him to celebrate the bar mitzvah  of young David. He boards a plane to leave America for his birthland of France after more than 30 years of American life. His young friend Rabbi Samuel comes with him.

In Normandy, the rich businessman Victor Pivert (Louis de Funes) is also on his way since his daughter (Miou-Miou) is getting married the next day. Pivert is a dreadful man. He is bad-tempered, rude and a bigot, a racist against blacks, Jews, and pretty much all foreigners. He and his driver, Salomon (Henri Guybet) have an accident in which Pivert’s car (carrying a speed boat) flips upside-down into a lake. When Salomon, who is Jewish, refuses to help because the Sabbath  has just begun, Pivert fires him, much to Salomon’s happiness.

Arab revolutionist leader Mohamed Larbi Slimane (Claude Giraud) is kidnapped by killers who are working for his country’s government. The team takes him to an empty bubble gum factory… the same place where Victor Pivert goes to find assistance. Pivert involuntarily helps Slimane to flee, leaving two killers’ dead bodies behind them. The police, alerted by Salomon, find the bodies and accuse Pivert of the crime.

The next day, Slimane forces Pivert to go to Orly airport to catch a plane to Slimane’s country (if the revolution succeeds, he will become President). However, they are followed by a number of people including Germaine, Pivert’s wife, who thinks her husband is going to leave her for another woman; the killers; and the police commissioner Andréani, a zealous and overly suspicious cop who imagines that Pivert is the new Al Capone. Germaine is kidnapped by the revolutionaries and they use her own dentist equipment to interrogate her.

Trying to conceal his and Pivert’s identities, Slimane attacks two rabbis in the toilets, stealing their clothes and shaving their beards and their side locks . The disguises are perfect, and they are mistaken for Rabbi Jacob and Rabbi Samuel by the Schmoll family. The only one who recognizes Pivert (and Slimane) behind the disguise is Salomon, his former driver, who just happens to be a Schmoll nephew. But Pivert and Slimane are able to keep their identity secret and even manage to hold a sermon in Hebrew.  

After a few misunderstandings, Commissioner Andréani and his two inspectors are mistaken by the Jews for terrorists attempting to kill Rabbi Jacob. The real Rabbi Jacob arrives at Orly, where no one is waiting for him  and he is mistaken for Victor Pivert by the police, then by the killers. There is a chaotic, but sweeping happy ending with the revolution as a success and Slimane becoming President of the Republic Pivert’s daughter falls in love with Slimane and escapes her dull fiancé near the altar to go with him and Pivert learns tolerance towards other religions and cultures. Salomon and Slimane make peace with their respective Arab and Jewish colleagues, the Schmolls finally find the real Rabbi Jacob and the Piverts and the Schmolls go together feasting and celebrating.

I said a lot here but there is no way I could have said too much because too much happens. As slapstick as the film is, you will have great fun watching it.

 About Film Movement

 Founded in 2002 as one of the first-ever subscription film services with its DVD-of-the-Month club, Film Movement is now a North American distributor of award-winning independent and foreign films based in New York City. It has released more than 250 feature films and shorts culled from prestigious film festivals worldwide.  Film Movement’s theatrical releases include American independent films, documentaries, and foreign art house titles. Its catalog includes titles by directors such as Hirokazu Kore-eda, Maren Ade, Jessica Hausner, Andrei Konchalovsky, Andrzej Wajda, Diane Kurys, Ciro Guerra and Melanie Laurent. In 2015, Film Movement launched its reissue label Film Movement Classics, featuring new restorations released theatrically as well as on Blu-ray and DVD, including films by such noted directors as Eric Rohmer, Peter Greenaway, Bille August, Marleen Gorris, Takeshi Kitano, Arturo Ripstein, King Hu, Sergio Corbucci and Ettore Scola. For more information, please visit www.filmmovement.com. Visit www.filmmovementplus.com for more information about Film Movement Plus, the new subscription streaming service from Film Movement.

“CLARENCE CLEMONS: WHO DO I THINK I AM”—   The Iconic Clarence Clemens

“CLARENCE CLEMONS: WHO DO I THINK I AM”  

The Iconic Clarence Clemens

Amos Lassen

Clarence Clemons was part of Bruce Springsteen and the E Street Band’s marathon ”Rising Tour” and when it ended in 2003, he felt like he needed a break. He packed up his saxophone and went to China where he could be a nameless traveler in a foreign land. 

The film “ Who Do I Think I Am” follows Clemons after China and document his transcendent awakening and then tragedy that struck him. While in Florida where we went after China, Clemons suffered a stroke and passed away. 

The film features interviews with President Bill Clinton, Jake Clemons, Joe Walsh, Willie Nile, Nils Lofgren, Vini Lopez, Norman Seldin, Michael Narada Walden, Gayle Morrison, Danny Clinch, Don Reo and additional family and friends who knew him well. The feature also highlights his life as musician and member of the E Street band while also presenting another side of Clarence not many saw when he was away from the stage. This is an intimate portrait of a man who searched for enlightenment and meaning at the unknowingly final years of his life.

The world knew him as “The Big Man” or “The Minister of Soul” or “The Secretary of the Brotherhood”.  Clemons was a musician, singer, songwriter and a lifetime member of the E Street Band. There was also a deeply spiritual side to Clarence Clemons and that is why to China, someplace he had never been on the other side of the world. 

That trip had a profound effect on him. He sought  his true self. The documentary shows us his soulful mission and how it changed him, while paying  tribute to The Big Man through recollections with his closest friends and family members.

“WHO SAW HER DIE?”— A Special Edition

“WHO SAW HER DIE?”

A Special Edition

Amos Lassen

Former Bond star George Lazenby stars in “Who Saw Her die”, a classic giallo directed by Aldo Lado. It has a haunting atmosphere and is filled with twists and turns.

Sculptor Franco Serpieri (Lazenby) has a young daughter,  Roberta (Nicoletta Elmi) from a failed marriage  and does not realize that a disturbed child-killer is stalking the Venice s canals. When Roberta’s body is found floating face-down in the river, the lives of Franco and his estranged wife Elizabeth (Anita Strindberg) are torn into pieces. Franco wants vengeance and becomes a detective to track down his daughter’s killer. In the process he discovers shocking evidence of depravity and corruption that implicates some of the most powerful and respected figures in Venetian society.

The film begins with a prologue set in France in 1968and we see  a child playing in the snow. Lado builds this moment of childhood innocence before giving us a point of view shot from beneath a black veil. The murder that follows is all the more effective because of its swiftness and by the efforts of the black clad psychopath to hide the child’s corpse beneath the snow. Lado illustrates the fine line between the carefree innocence of childhood and an adult world of murder and violence. The scene of a child being murdered so early creates tension that never lets up even in the films quieter moments. In a brief credits sequence we get a look  into the case files of the police investigation and the narrative begins proper with the knowledge that the child’s murder is still unsolved. Then the film jumps forward to 1972 and we see a plane coming into land at an airport. We are quickly introduced to sculptor Franco as he picks up his daughter and shows her the sites of Venice.

The Venetian setting allows Lado’s camera to wind through the waterways, backstreets, and cloisters of the ancient city stressing that it like A its labyrinth. It dwells on the decadent architecture yet, at the same time, it mistrusts the artifice of the people. There is a sense here that the characters that we meet are not worthy of such a space in which to play out their perversions and conspiracies. Lado gives us an unfamiliar look at Venice. He picks out somber and tired streets, mist covered boat rides and the overriding sensation of claustrophobia and dislocation is stressed.

It takes the killer three or four tries to finally snatch Franco’s daughter and each moment is preceded by music that builds dread. Each of the adult characters that Franco meets seem to take an unnatural interest in the girl and a subtext of pedophilia comes forward. This reaches an apex in a sequence set at a basketball match run by a priest who constantly flits in and out of the narrative. It is no surprise that the police are ineffectual; they failed the first time around in France to catch the culprit, so Franco is forced to become an amateur detective. Franco is bitter, driven, and obsessive yet sympathetic and believable. When Franco’s investigation begins the convolution also increases, but as he goes about his research he begins to discover a conspiracy of perversion and child molestation with wealthy art dealer called Serafian (Adolfo Celi) at its core. 

It is possible to predict who the killer is and when it is revealed it isn’t a surprise. But Lado does reserve an excellent slow motion death for the perverted psycho. The only weakness is a lack of identifiable motive. We are never sure why the killer commit’s the crimes because the film rushes rather too quickly to a contrived conclusion. But these are minor weaknesses because this is a very stylish giallo.

During the murder sequence, we get brief glimpses of the antagonist and it appears to be a lady dressed all in black, with a black veil over her face. In true giallo fashion, we do get some first person shots from inside the veil as the murderer stalks her prey.
I felt a sense a dread seeing Roberta playing with her friends in the village square. This was interrupted by the first person shot from behind the veil of the killer. I knew this was coming, it was just a matter of when, but I didn’t expect to be so disappointed that Roberta was about to meet her fate. 

“Who Saw Her Die?” is  an excellent example of the giallo genre, and truly succeeds. Aldo Lado made use of his quaint setting to great effect and got good acting from his actors. The sound design is wonderful.

 

SPECIAL EDITION CONTENTS

  Brand new 2K restoration of the full-length Italian version of the film from the original 35mm camera negative

  High Definition Blu-rayTM (1080p) presentation

  Uncompressed mono 1.0 LPCM audio

  Original English and Italian soundtracks, titles and credits

  Newly translated English subtitles for the Italian soundtrack

  Optional English subtitles for the deaf and hard of hearing for the English soundtrack

  New audio commentary by author and critic Travis Crawford

  I Saw Her Die, a new video interview with director Aldo Lado

  Nicoletta, Child of Darkness, a new video interview with actress Nicoletta Elmi

  Once Upon a Time in Venice, a new video interview with co-writer Francesco Barilli

  Giallo in Venice, a new video interview with author and critic Michael Mackenzie

  Original Italian and English theatrical trailers

  Poster and fotobusta gallery

  Reversible sleeve featuring original and newly commissioned artwork by Haunt Love