Video Home Invasion: Third introduction window films

The first two labels I have profiled for Twitch have been mainly focused on bringing older or forgotten films to home video, so I thought it was time to check up on a label whose focus is on contemporary cinema, and I can hardly think of a better example than Third Window Films.? With our exclusive first look at Third Window's acquisition of Sion Sono's Cold Fish, a film that has just started making the festival rounds a couple of months ago, you can tell that they have their finger on the pulse of Asian cinema and they strive to stay ahead of the curve and we get the benefit of that foresight.

Third Window Films focuses on contemporary films from the Far East, so far that means Hong Kong, Korea, and especially Japan.? They began with several Korean box office and art-house favorites like Kick The Moon, Friend, Peppermint Candy, and Guns and Talks; took a detour to Hong Kong to release Johnnie To's fantastic PTU starring Suet Lam to cinemas and home video, and they currently have found a tight focus on Japanese films of all kinds.? I think it is their collection of Japanese films that most interests me.? Third Window's Adam Torel has told me that he tries to think outside the established views of what east Asian films should look like.? He fears that too much is focused on the J-Horror scene and other such extreme cinema and that these films, while flashy, are overpowering other, more interesting and even entertaining, films that really deserve a shot at being seen.? I tend to agree.

I'm not going to go into too much detail on their individual releases in this column, I'll save that for the follow-ups, but I'm very excited to explore Third Window's growing and finely curated catalog of releases.? I drew up a few simple questions for Adam, and he graciously gave me some very candid and insightful answers.? I'm no interviewer, and as such I'm glad he did such a great job answering.? Here is a little bit of what he told me, I'll try to spread this out, because there is a lot of good information to share:

Who are you, what is your background?

Adam Torel, English born, raised and currently residing, but lived in the States from the age of 10-21 (approx). Went to University in Massachusetts for A.A. in Liberal Arts then did B.A. in Film Theory at both a university in Florida and also one in London. Learnt all I know about film working for Video Renaissance in Florida for 3-4 years, one of the biggest video stores in the world with over 35,000 titles and the biggest selection of out of print titles you'll ever see in one place.

When/why did you start the label?

August 2005 after leaving Tartan Films where I worked for a year. The reason I started it was because of how disillusioned I was with how Tartan Films and other UK distribution labels were pigeon-holing Asian cinema into the 'Extreme' category. I wanted to show that there was so much coming out of Asia other than long-haired ghost films and over-the-top violent films. I also feel that it is the job of a distributor to get films out there which wouldn't be seen otherwise. What's the point in 5 companies all trying to outbid each other for the next big budget genre title? If 5 companies are after it then it'll get seen anyways. Why all bid over the same title when there are hundreds of great films out each year from Asia that nobody is releasing?? If there is no market, then create one. It's all about taking risks and believing in your product with a long-term goal in mind.

How many people work at Third Window?? Is there have a full time staff or is this something that people do in their spare time?? Is Third Window your full time job?

Third Window is mainly myself and it's my full-time job, though I'm also a record collector and soul DJ so make money from that and selling records which goes into picking up new titles. I handle all acquisitions, theatrical booking, and some press, but I work with a sales company called Fusion Media who also handle all sales for Artificial Eye, Network, Terracotta, Yume, HB and other similar sized foreign film distributors. As they handle so many similar companies it's easy for our titles to get lumped in with bigger titles for retail campaigns. They're on a commission basis so it's quite a good deal. In regards to press and PR, I handle for straight to DVD releases, but the bigger titles are handled by a larger PR company called The Associates where Paul Smith, who was the head of press at Tartan Films for many years, looks after our titles.

What do you look for in a film for Third Window?

I like films which are unique and stick out. As mentioned before, I started the label because so many companies were releasing so many films which you could barely tell apart. Over-saturation of these low-quality, unoriginal 'by-the-numbers' products is what killed the market here a few years after Tartan built up such a great market with a selection of quality titles. A market which they, themselves, helped destroy. If you look at our releases, we probably have one of the widest variety of genres and titles of any Asian-related distribution label in the world. From the tour de force acting powerhouse titles like 'Oasis' to candy-coloured looks at odd sub-cultures in 'Kamikaze Girls' to fierce political satires such as 'The President's Last Bang', strange quirky comedies like 'Turtles are Surprisingly Fast Swimmers', 4 hour long epics like 'Love Exposure' and small indies like 'Kakera: A Piece of Our Life'. We've even got the genre titles like Johnnie To's wonderful police procedural 'PTU' and KT Kwak's box office record breaking 'Friend'. As long as it's good and stands out from the rest, then we want to get it out there.

Where do you find these films?? Do you make deals at film festivals and such?? Do you ever get the rights for films before you see them based on a relationship with the filmmaker/production company?

Most films I find at either festivals or markets, but I also receive many screeners each week from companies trying to sell their latest titles. I prefer to scout smaller, more niche film festivals such as Nippon Connection and Udine where I can find more unknown titles which wouldn't make it into the major festivals or be heavily promoted by sales agents. These titles, such as 'Fine, Totally Fine', 'Fish Story', etc, can be picked up cheaper as there isn't as much expectation for a sale. I also get a lot of information from other festivals programmers and friends like Jasper Sharp and Chris Magee who tell me of some smaller titles which might have gone under my radar. I found out about 'Confessions of a Dog' from them. The bigger films like 'Confessions' and 'Memories of Matsuko' are usually done at bigger markets like Cannes where they are usually first screened. I never buy a title before its made or based on a trailer. That is the reason why I had enough with Tartan Films who were doing as such. Even if it's a director I admire or have worked with in the past, you never know what their next title could be, so better wait till its done, though with most of the directors I've worked with such as Tetsuya Nakashima, Miki Satoshi, Sion Sono, etc, I am usually the first point of call from the sales companies to give me first refusal on their latest works.

What do you hope to accomplish with your releases?

To educate and create a market for these titles. I always get in arguments with cinema programmers and the such who always give the same response: "we won't handle foreign films because the big ones will always make more money". Maybe in the short term this is true, but I refuse to believe that all cinema-goers are that ignorant and only want to watch Hollywood 'entertainment'. If cinemas only programmed foreign films then people would have to watch them and then grow to appreciate and like them. I believe that the foreign film market is only small because nobody will take a chance and give the audience more of a chance. I hope that slowly, through Third Window's releases, we can create a larger audience who will appreciate all what is out there in the East.

I have more of this interview on tap for later as we reach into different parts of Third Window's collection.? There are a ton of really great titles to look at, I've seen a handful of them, but I'm going to be watching a lot more in the coming weeks, so look forward to more information regarding what you can expect from Third Window as time goes on.? In addition to more behind-the-scenes stuff, Adam has assured me that Twitch readers can look forward to some pretty cool giveaways and future releases, so look forward to that!

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American Film Institute names their ten films top of the page and the year TV series

How the IFA love their selections for ten movies top and the series of the year? Sufficient that they made their own promotional video to announce their selections. I find kind of stupid, really. But if you want a quick overview of what he thinks the u.s. industry is on the right and then doing so is a good starting point. Selections are listed alphabetically instead of being ranked. You agree and disagree with these lists? What should it not?

AFI FILM OF THE YEAR

SWAN BLACK
THE HUNTER
CREATION
THE CHILDREN ARE ALL RIGHT
127 HOURS
THE SOCIAL NETWORK
THE CITY
TOY STORY 3
TRUE GRIT
BONE WINTER

AFI TELEVISION OF THE YEAR

THE BIG C.
BOARDWALK EMPIRE
BREAKING BAD
GLEE
MEN FOLLES
MODERN FAMILY
PACIFIC
TEMPLE GRANDIN
30 ROCK
THE DEATH WALK

AFI SPECIAL PRICES

THE KING'S SPEECH
EXPECTATION OF SUPERMAN

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Invasion of the home video: Korean Collection of the third window films

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When Third Window Films' Adam Torel left Tartan in 2005, as he mentioned in our interview, it was mainly because he felt that the quality of films being released by the "Asia Extreme" label was plummeting fast.? After leaving Tartan, Adam started buying up titles that deserved to be seen, but fit nowhere under any label's horror/extreme cinema's line.? It was a bold decision to make when all of the big money was on those titles, and in the end it didn't really pay financially, however, the films he's picked up remain quality films, while people barely remember things like Sorum and Acacia.

Torel picked up a ton of great Korean films at first, running the gamut between the critically acclaimed work of Lee Chang Dong (Peppermint Candy, Oasis, and Green Fish) and the box office powerhouses of Friend and Guns & Talks.? Starting in May of 2007 he started releasing the films with hopes of a long term success with Third Window.? Says Torel:

[Third Window] Released 'Green Fish', 'No Blood No Tears' and 'Say Yes' at one time, then 'Wild Card' and 'Guns and Talks' about a month after. They all massively flopped (comically so). That was around May 2007, though I had acquired all those films about 2 years prior. Since then only 'No Blood No Tears' (of those initial 5) has done decent numbers, the rest have all flopped. Actually only 'Friend' and 'Teenage Hooker Became a Killing Machine' of all our Korean releases have done well, but I think that the reason why so many didn't was that they were all available with English subtitles in nice Korean box sets and at the time of release it was $2 to ￡1 so we didn't get any internet sales. Since then I learned to either release a film on or about the same time as its domestic release, or to only handle titles that haven't been released with English subtitles elsewhere.

The one title from that list that sticks out to me is "Teenage Hooker Became a Killing Machine", I think for obvious reasons.? In our introduction, Adam specifically mentioned how he left Tartan after his disappointment about their acquisitions of horror titles, which had been gaining velocity at the time.? So I asked him why he chose to pick up "Teenage Hooker":

I knew Teenage Hooker would be a success. It was actually more of an experiment as a release. Wanted to see how well a title like that would do. Didn't cost much and one of my highest grossers, and if I really only wanted to focus on making money then I would have continued to release films like that and I'd be a much richer man now, but that would defeat the whole purpose behind my reasoning in deciding to become a distributor.

Fair enough.? Torel says that these films ultimately ended up costing him money, but we here in the West are better off for them being available.? It is very easy for consumers to bypass these labels in a store without realizing what it takes to get them to the shelves.? So I asked what kind of risks and/or investment a small label like Third Window incurs to try to bring these smaller less publicized, less exploitable titles to stores:

I actually picked up titles like 'Peppermint Candy', 'Oasis', 'No.3' and others a long time ago, but it took a long time to release them because I was still reeling from the poor effects of the first batch of Korean titles I had released. It's a pity as I love both 'Peppermint Candy' and 'Oasis', but they still did very poorly, which was quite hard considering I made a new PAL transfer for 'Oasis' which cost a mint! You hear people complaining a lot nowadays about NTSC-PAL transfers and all that, but the fact of the matter is that it cost me about $2,000 to make a PAL transfer of 'Oasis' from its original negative, plus added 5.1 sound which cost quite a bit too, and yet nobody bought it. People don't realise how much money it costs to do such things, and especially how hard it is for companies in the UK who deal with having to release in PAL despite the original materials being in NTSC. I actually released 'Peppermint Candy' in NTSC and I still got complaints about that, so I guess you can't win whatever you do, best to just try and keep costs down before you go bankrupt. People may mention companies like Eureka with their fantastic transfers, but remember that Eureka make all their money selling bargain-bin workout/exercise DVDs to afford the wonderful 'Masters of Cinema' branch of their company. If it was just 'Masters of Cinema' they would have gone under by now.

There is one other really fun title in the Third Window Films collection that I didn't ask Adam about, but I really enjoyed as sort of a kindred spirit to the works of Tetsuya Nakashima, which we'll look at another day, and that is Dasepo Naughty Girls.? Dasepo is a candy colored sex farce, really very funny and ludicrous.? It is the kind of film that the "Not Another Teen Movie" guys wish they could make.? I don't really have much to say about it other than that, but I really think it deserves some attention, and at the amazing prices Amazon UK has right now, it is definitely worth checking out!

Another film that deserves much more credit is Im Sang-Soo's, The President's Last Bang.? Im made a brilliant black comedy about the last hours of South Korea's former president Park Chung-Hee, who was assassinated in 1976 by a close friend and confidant.? The film was very controversial upon its release in Korea, and was even censored by the Korean Supreme Court when Im tried to include some documentary footage in the, when the Court told him to remove it, he left in almost 4 minutes of blank screen in protest.? It was this censored version that was available in most of the world upon the film's initial DVD releases.? In 2006, as reported here on Twitch for you longtime readers, the court reversed that decision and stated that the uncensored version was right and good and that Im's right to free expression had been infringed upon.? However, by that time, most DVD releases in the world, including the Korean KD Media release and Kino's US release had already come out.? Third Window was actually the first company in the world to release the fully uncut version of the film, and theirs remains the only English friendly version.? That is quite an achievement.? The President's Last Bang is a wildly entertaining film in its cut version, but the uncut scenes definitely enhance the emotional impact of the film and really change the overall tone.? When I asked about this title, Adam told me that is was one of Third Window's poorest performers, which makes me really sad, actually.? Twitch readers, this is your opportunity to see this amazing film as it was meant to be seen!? Not only that, over at Amazon is it DIRT CHEAP!? Do yourselves a favor and seek out this film, you won't regret it!

Third Window hasn't released a single Korean film in 2010, and their 2009 Korean output was mainly older titles that they'd licensed years before.? The focus has turned almost entirely to Japanese films, so I asked Adam what happened:

Do you think that you are moving away from the Korean film scene, or would you say the Korean film scene is moving away from you?? Could your changed focus have to do with the increased attention to Korean films making them more and more expensive to license?? Are there any in the last 2 years or so you were interested in that you either got outbid for or that the distributors wanted obscene amounts for?? It seems to me that there are several Korean films from the last few years that don't have proper western distribution, like Secret Sunshine and stuff like that.? Secret Sunshine won a best actress award at Cannes if I'm not mistaken...

I moved away from the Korean film scene as I felt it was moving away from my own tastes. I got into Korean cinema around 1999/2000 and thought my favourite year was 2001 where many great genre-mix-up films were released. I loved Korean cinema as I felt they were making their films for the Korean market and the tastes of their audience, but as Korean cinema became more and more popular in the West and Japan they started to make too many films for other markets. As their popularity grew, their budgets grew and so did their asking prices, but it wasn't the high costs that put me off as much (though of course that was an issue), it was the fact they started making their films more for the international market instead of their own. Due to the popularity of films like b>Oldboy in the international market there then were about 100 ultra gritty, revenge films a year being made, each trying to be more 'realistic' and 'gritty' than the last. After a (short) while this became really really boring. What I prefer about the Japanese industry is that because they've been around a lot and make all their money back (for the most part) domestically, their films are more aimed towards their own people and their own market. You do get to see films with a lot more of a 'Japanese' feel to them nowadays, compared to Korean which is more them trying to do films that other people constantly expect from them.

Obviously you do have similar things going on in Japan with the J-horror boom such as the official J-horror series of titles which were pretty much made for the overseas market to build off the successes of Ringu and Juon, and in these cases the films were pretty much all remade or setup for remake (Premonition, Infection, etc) by idiots who like milking such booms dry. The new, equally rubbish trend of low-budget splatter titles and Nikkatsu's current 'Sushi Typhoon' label (of which 'Cold Fish' is a part of, but at the same time I personally wouldn't really bulk it into the others) are also all aimed towards the West, but like the J-horror boom before, these will go bust even quicker as with the same small number of directors making up to 10 films a year (films which you can barely tell the difference from each other) it will all go stale very quickly (the J-horror boom at least had Hollywood keeping its popularity worldwide). The good thing is that apart from these small trends, Japan still makes hundreds of films a year which are mostly aimed towards their own audience, making them feel like they are still quite 'Japanese'.

I tried to continue in the last few years trying to pickup titles like (Lee Chang Dong's) 'Secret Sunshine' and (Im Sang-Soo's) 'The Housemaid', but their sales agents wanted comically high amounts for them, and while I could probably pick them up now for less (more so for 'Sunshine'), the demand is already gone (especially for 'Sunshine').

All of Third Window's DVDs include interviews, behind the scenes featurettes, making-of documentaries, and trailer reels.? Most of the content is found on other releases, but most of it is also unsubtitled, so the Third Window releases are very helpful in that regard.? All of Third Window's Korean releases are available on Amazon and most can be had for less than ￡5, which is pretty amazing considering the quality of the films we're talking about.?

While, Third Window may be done with Korean films for the time being, we are nowhere near being finished with Third Window!? Like our previous focus Severin Films, Third Window has its favorite artists, and in this case, Sion Sono and Tetsuya Nakashima certainly count among their favorites.? In the next column we'll take a closer look at Third Window's work with these directors and how they are creating exclusive material for the world market with their films.? See you then!

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The creators of LOVE martial arts films preparation Danish revenge is the ELITE

Although the concept of a Danish film martial arts seems much less strange now than he did before the arrival of the excellent support a few years back it is always surprising enough that it deserves a mention.

Actor and Director Stefano Gonzalez / co-producer David Sakurai (Yes, I know, a very unlikely Danish namespace pair) was recently awarded with 3 Pusher co-star Marinela Dekic (also not sounding like a Danish) to create a budget low short film titled Love Is Vengeance. yarn of a concept band drawn and designed as a tribute to Bruce Lee, responsible enjoy the process fairly Gonzalez and Sakurai are now preparing a case characteristic length entitled The Elite martial arts.

Still in development, they intend to draw a sequence of test start / promo reel for the film in the very near future, but those who want an idea of what comes can now thanks to the arrival of Love Is Vengeance online in its integralite.Et well that there are some gaps in this it is also very good for what it is.

Furthermore, David Sakurai spends more time in the gym I.

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Invasion of the home video: Severin plans future films brought oz and beyond

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I've spent a lot of time telling you all about the different aspects of Severin Films' home video catalog and even their theatrical releases.? You would think that would be all, perhaps they'd found their niche and they'd be glad to hang out in their comfort zone, but you'd be wrong.? Having admirably tackled EuroSleaze, horror, the eternal works of D'amato, Borowczyk, and Franco, and dipped their toes into feature film distribution and production, you'd think they would be satisfied.? However, Severin Films has so much more to offer, their future is bright, and I predict that at least a couple of their upcoming releases will blow the minds of home viewers in the coming years.

I never got around to talking about one of Severin's best complete packages, the two disc special edition of Ozploitation biker classic, Stone.? A good five years before Mel Gibson hit the wide open freeways of Australia as Mad Max Rockatansky, director Sandy Harbutt made Stone, the original Aussie biker epic.? Undercover cops, biker gangs, mystery, and murder fill this cult classic.? Severin Films revived this classic for American home viewing audiences a year before the big Ozploitation push that followed Mark Hartley's awesome Not Quite Hollywood.? They were a bit ahead of the curve on this title, and they did it great justice, with a documentary, making-of, and other goodies.?

Lest you think that Severin are finished with the land down under, you may look forward to Severin's upcoming special edition of BMX Bandits!? That's right, in their continuing quest to bring as many "what the fuck?" classics to Blu-ray as possible, Severin have landed this early Nicole Kidman vehicle (pun intended).? Never thought you'd see this on Blu-ray?? Well, neither did anyone else, but Severin are doing it!? Following in their own footsteps after they released 80's nudie classics Screwballs and Loose Screws: Screwballs 2, they've managed to once again raise the bar for unexpected Blu-ray packages.? Sure, we were all shocked when MGM put out Troll 2 a few months back, but that was a one off.? This disc, this package, this choice shows a commitment from Severin to release the films they want in the best possible package they can come up with.? I respect that.? BMX Bandits is scheduled to release in March of 2011.

Also coming to DVD and Blu-ray is Shopping, the debut feature from the oft-derided Paul W.S. Anderson.? Sure, he gets a lot of shit, and he's made a LOT of questionable movies; however, he also made Event Horizon, which I think is amazing.? I haven't seen Shopping, but it certainly sounds interesting.? The story of bored teens ramming cars into stores and running off with worthless trinkets, could be fun.? The film sports quite a cast, in any case, Jude Law, Sadie Frost, Sean Pertwee, Marianne Faithfull, and Jonathon Pryce among others.? This seems to be the first appearance of Shopping in its uncut form in the US, adding almost 20 minutes to the now out-of-print New Concorde DVD.? In addition, the discs will have a commentary with Anderson and producer Jeremy Bolt, as well as other interviews and trailers.? Shopping is coming this February to Blu-ray and DVD.

A very recently added titles to Severin's future plans is director and Severin co-founder John Cregan's teen comedy, Devolved. The film centers around a couple of groups of shipwrecked teenagers on an island and their struggles with one another.? It is being marketed as a teen comedy with a satirical streak, here's what Severin has to say about it:

A raucous teen comedy produced in association with Severin Films, Devolved stars Gary Entin (the upcoming Seconds Apart), Lindsey Shaw (10 Things I Hate About You), and Robert Adamson (Lincoln Heights) as leaders of opposing factions of teenagers who find themselves shipwrecked on an uncharted island off the Mexican coast. Faced with the prospect of a long-term stay, the island soon degenerates into a struggle between two groups; teens who want high school to end as fast as possible, and teens who never want high school to end. Also starring Chris Kattan (Saturday Night Live), Devolved will no doubt serve as a cautionary tale to future generations of filmgoers on the dangers of peaking at 18.

Now, for the real kicker.?

Severin Films announced a couple of months ago that they'd picked up the rights to one of the greatest films of the last 30 years, Santa Sangre. ? There is nothing like this film, it is in my top five favorite films ever.? I cannot gush enough about Santa Sangre, and having seen first hand what Severin managed with Hardware from around the same time period, I could not be more excited or have more faith in their treatment of this beauty.? Jodorowsky's classic has only bee available in the US on VHS, never on disc.? A few years back, Anchor Bay in the UK released a magnificent DVD edition with a wonderful documentary, La constellation Jodorowsky, but that set is now long out of print and fetching outrageous prices on the secondary market.? Fortunately for us, La constellation Jodorowsky was included in Anchor Bay's US Jodorowsky box set along with his landmark 1970's work.? In my mind, this frees up Severin to focus completely on the masterpiece that is Santa Sangre, and if any film deserves an exhaustive breakdown and analysis, it is this one.? All at once the film is a perfect example of modern surrealism, the new tradition of Latin magical realism, as well as a peak inside what I imagine Jodorowsky's dreams look like, there are few artists, living or dead, who can conjure the kind of imagery with the ease and fluidity of Alejandro Jodorwsky as exemplified in Santa Sangre.

My experience of Santa Sangre is very personal.? I found this film as a teenager after reading some film geek's list of "most disturbing" movies alongside things like Salo, Sweet Movie, and the Guinea Pig series.? I still haven't seen the Guinea Pig movies, but the rest I was able to track down.? I sat down to watch and came out of it two hours later a changed man.? It was like seeing film for the first time, I became so much more aware of what movies were capable of, the power of Santa Sangre propels me still today to find those films that will affect me like I was affected after my first (of many) viewings of Santa Sangre.? There have been a few since then: Oldboy, Pulp Fiction, All About My Mother, and more recently Scott Pilgrim Vs. the World.? They've all changed my perspective and challenged my ideas of the capability of the medium of cinema to surprise me.? It isn't necessarily about storytelling or visual trickery, it is something more primal that affects me deeply.? I don't know that any of them can touch me the way that Santa Sangre did, and I don't think I want any other film to take that power away from this film, but they all have had a profound effect on me.

Severin Films understand that reverence that many others, like me, have for this film, and they've promised a special edition like none they've yet accomplished.? They have promised a massive seven part documentary tracking the making of Santa Sangre.? The documentary was filmed in no less that five different languages and across multiple continents.? There are also awesome sounding features, commentaries, and interviews with the man himself, Alejandro Jodorowsky, stretching back to 2003.? Severin Films are taking this release very seriously, and are even blogging at length about the release, its contents, and the challenges of finally bringing the film to the US home video market in the digital age.? If Battle Royale was the piece de resistance from the Arrow Video canon, Santa Sangre is that piece for Severin, perhaps even exceeding BR in my own view.? Needless to say, I cannot wait for this release, and I reeeeeeeally hope I get an early look at the complete package, but even if I don't I won't mind skipping a few meals in exchange for the opportunity to see this film in high definition and comb through what look like massively extensive special features.

Also coming up from Severin Films is a new special edition of The Stunt Man, starring Peter O'Toole.? The Stunt Man is one of those films that should be a classic, but didn't get the respect it deserved on its original release, and had to wait years to find its audience on home video.? As O'Toole once famously said, "the film wasn't released, it escaped!"? Not a lot of info on this one yet, but Anchor Bay put out a great edition many years ago, and I would imagine that Severin would like to improve upon that, and if anyone can, I feel comfortable in Severin's hands.

I would like to thank Severin Films' Evan Husney for all of his great cooperation and help with this profile, along with his partner and Severin co-founder David Gregory for providing some great background on the company and great stories for some of the wonderful titles in their catalog.? Thus concludes the formal part of Severin's Video Home Invasion profile, but I will be keeping a close eye on them and hope to continue sharing their future awesomeness with all of you, gentle Twitch readers.? I haven't got a solid follow up label to Severin, I'm trying to sort some things out among a few different labels, but rest assured, Video Home Invasion will return soon with some more great profiles of the heroes of independent and niche home video market!

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