{"product_id":"orders-limited-edition-slipcover-blu-ray","title":"Orders (Limited Edition Slipcover BLU-RAY)","description":"\u003cdiv class=\"c-message_kit__blocks c-message_kit__blocks--rich_text\"\u003e\n\u003cdiv class=\"c-message__message_blocks c-message__message_blocks--rich_text\" data-qa=\"message-text\"\u003e\n\u003cdiv class=\"p-block_kit_renderer\" data-qa=\"block-kit-renderer\"\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/CJU54L2mj8Y?si=NmMQiUZjOme1kGUP\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e50th anniversary special edition\u003c\/p\u003e\n\u003cp\u003eFollowing the shocking kidnapping of two prominent political figures in October 1970, Canada’s federal government invokes the War Measures Act, an extreme law that strips citizens of their most fundamental human rights. Over the course of several weeks, 450 unsuspecting Québécois are abruptly ripped from their families and imprisoned without formal charges or explanations. Told through the eyes of five prisoners subjected to abuse and humiliation that borders on torture, Orders is an unsettling and unforgettable immersion in one of the most dystopian chapters in Canadian history.\u003c\/p\u003e\n\u003cp\u003eThe sophomore narrative feature from master cinematographer and filmmaker Michel Brault (a formative influence on director Denis Villeneuve), this unflinching prison drama explores the most egregious injustices perpetrated during the historic October Crisis. Drawn from extensive testimonials and told in the cinéma direct language Brault helped pioneer, Orders is a masterpiece of Québécois cinema that delivers a vision no less infuriating and impactful half a century after it won Best Director at the Cannes Film Festival.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"c-message_kit__blocks c-message_kit__blocks--rich_text\"\u003e\n\u003cdiv class=\"c-message__message_blocks c-message__message_blocks--rich_text\" data-qa=\"message-text\"\u003e\n\u003cdiv class=\"p-block_kit_renderer\" data-qa=\"block-kit-renderer\"\u003e\n\u003cdiv class=\"p-block_kit_renderer__block_wrapper p-block_kit_renderer__block_wrapper--first\"\u003e\n\u003cdiv class=\"p-rich_text_block\" dir=\"auto\"\u003e\n\u003cp\u003e\u003cspan data-sheets-userformat='{\"2\":4993,\"3\":{\"1\":0},\"10\":2,\"11\":4,\"12\":0,\"15\":\"Arial\"}' data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;A rock n' road movie about a girl who learns to drive\\n\\nAt loose ends with life in Toronto, Ramona (Highway 61’s Valerie Buhagiar) is abruptly dispatched to the wilds of Northern Ontario by her mercenary record promotor boss (eXistenZ's Gerry Quigley) to retrieve The Children of Paradise, a wayward rock band that has disappeared mid-tour. There’s only one problem: she doesn’t know how to drive. Armed with only a Walkman and the clothes on her back, she embarks on a journey that quickly introduces her to a cavalcade of oddball characters, including a cab driver with ties to Elvis, a film director in search of a muse, a singer who’s lost his voice, and an aspiring serial killer (Last Night’s Don McKellar) determined to make it big. With the help of this motley crew, Ramona hopes to push beyond her limits and mount a rock n' roll show for the ages.\\n\\nOne of the defining films of the Toronto New Wave, Roadkill immediately turned heads in 1989 with its freewheeling punk rock style – and a memorable appearance by the one and only Joey Ramone – launching the careers of director Bruce McDonald (Pontypool), star Buhagiar, and co-star\/screenwriter McKellar in the process. Boasting a now-legendary soundtrack full of local talent (and the Ramones), this first installment in McDonald’s iconic road movie trilogy (which also includes Highway 61 and Hard Core Logo) is a wickedly funny and enduringly hip DIY joyride. Buckle up!\u0026quot;}\" data-sheets-root=\"1\"\u003e\u003cspan data-sheets-root=\"1\" data-sheets-value='{\"1\":2,\"2\":\"\\\"Larry Kent was a heroic figure for me... I loved him on the spot.\\\" – David Cronenberg    \\n\\nWith a dead-end job and a potentially pregnant girlfriend jeopardizing his freedom, Des (Cathy’s Curse’s Alan Scarfe) spirals into bitterness, misanthropy, and fantasies of violent crime. While visiting a sick friend one afternoon, he crosses paths with the similarly jaded, even suicidal Laurie (Lynn Stewart), a young parent working as a waitress to provide for her child and struggling playwright husband (Philip Brown). Desperate to recapture a sense of vitality – and raise money for rent – this troubled couple invites Des and a group of local beatniks over for a hedonistic party that culminates in a series of shocking acts of violence and betrayal.    \\n\\nMade for just $5,000, The Bitter Ash is the first feature from celebrated independent filmmaker Larry Kent, a cinematic trailblazer cited as a key influence by countrymates David Cronenberg and Atom Egoyan. Playing like a Canadian answer to John Cassavetes’ Shadows, this first entry in Kent’s seminal Vancouver Trilogy (followed by Sweet Substitute and When Tomorrow Dies) also flirts with the frank sexuality and other provocations of ’60s exploitation cinema, which led to a series of censorship battles, dooming the film to decades of obscurity. CIP is thrilled to resurrect this groundbreaking classic with a new 4K restoration.   \"}' data-sheets-userformat='{\"2\":4993,\"3\":{\"1\":0},\"10\":2,\"11\":4,\"12\":0,\"15\":\"Arial\"}'\u003e\u003cspan data-sheets-root=\"1\" data-sheets-value='{\"1\":2,\"2\":\"“Larry Kent was very important to me. Those early\\nfilms were so ahead of their time.” – Atom Egoyan\\n\\nBusy navigating his final year of high school, brainy aspiring teacher Tom (Waiting for Caroline’s Robert Howay) is determined to land an elusive scholarship, but his hard work is constantly interrupted by his real obsession: pursuing the opposite sex. Before long, he develops a romance with former classmate Elaine (The Boy Who Could Fly’s Angela Gann), who persistently declines his sexual advances. This inspires Tom to consider other options, including his good-natured study buddy Kathy (Carol Pastinsky). But when they take their friendship to the next level, shocking complications threaten to derail Tom’s future, inspiring his friends to take drastic action.\\n\\nIn the wake of The Bitter Ash and the censorship battles it inspired, director Larry Kent returned with this more playful – but no less provocative – sophomore effort. An intoxicating blend of carefree sex comedy and unsparing coming-of-age drama, Sweet Substitute plays like a hedonistic reimagining of the same year’s Nobody Waved Good-bye aimed at the exploitation film market. A surprise success in the U.S. (under the title Caressed), it set the stage for Kent’s next leap forward with When Tomorrow Dies, the third and final entry in his celebrated Vancouver Trilogy.  \"}' data-sheets-userformat='{\"2\":5053,\"3\":{\"1\":0},\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"10\":2,\"11\":4,\"12\":0,\"15\":\"Arial\"}'\u003edirected by: Michel Brault\u003cbr\u003estarring: Hélène Loiselle, Jean Lapointe, Guy Provost, Claude Gauthier, Louise Forestier\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-sheets-userformat='{\"2\":4993,\"3\":{\"1\":0},\"10\":2,\"11\":4,\"12\":0,\"15\":\"Arial\"}' data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;A rock n' road movie about a girl who learns to drive\\n\\nAt loose ends with life in Toronto, Ramona (Highway 61’s Valerie Buhagiar) is abruptly dispatched to the wilds of Northern Ontario by her mercenary record promotor boss (eXistenZ's Gerry Quigley) to retrieve The Children of Paradise, a wayward rock band that has disappeared mid-tour. There’s only one problem: she doesn’t know how to drive. Armed with only a Walkman and the clothes on her back, she embarks on a journey that quickly introduces her to a cavalcade of oddball characters, including a cab driver with ties to Elvis, a film director in search of a muse, a singer who’s lost his voice, and an aspiring serial killer (Last Night’s Don McKellar) determined to make it big. With the help of this motley crew, Ramona hopes to push beyond her limits and mount a rock n' roll show for the ages.\\n\\nOne of the defining films of the Toronto New Wave, Roadkill immediately turned heads in 1989 with its freewheeling punk rock style – and a memorable appearance by the one and only Joey Ramone – launching the careers of director Bruce McDonald (Pontypool), star Buhagiar, and co-star\/screenwriter McKellar in the process. Boasting a now-legendary soundtrack full of local talent (and the Ramones), this first installment in McDonald’s iconic road movie trilogy (which also includes Highway 61 and Hard Core Logo) is a wickedly funny and enduringly hip DIY joyride. Buckle up!\u0026quot;}\" data-sheets-root=\"1\"\u003e\u003cspan data-sheets-root=\"1\" data-sheets-value='{\"1\":2,\"2\":\"\\\"Larry Kent was a heroic figure for me... I loved him on the spot.\\\" – David Cronenberg    \\n\\nWith a dead-end job and a potentially pregnant girlfriend jeopardizing his freedom, Des (Cathy’s Curse’s Alan Scarfe) spirals into bitterness, misanthropy, and fantasies of violent crime. While visiting a sick friend one afternoon, he crosses paths with the similarly jaded, even suicidal Laurie (Lynn Stewart), a young parent working as a waitress to provide for her child and struggling playwright husband (Philip Brown). Desperate to recapture a sense of vitality – and raise money for rent – this troubled couple invites Des and a group of local beatniks over for a hedonistic party that culminates in a series of shocking acts of violence and betrayal.    \\n\\nMade for just $5,000, The Bitter Ash is the first feature from celebrated independent filmmaker Larry Kent, a cinematic trailblazer cited as a key influence by countrymates David Cronenberg and Atom Egoyan. Playing like a Canadian answer to John Cassavetes’ Shadows, this first entry in Kent’s seminal Vancouver Trilogy (followed by Sweet Substitute and When Tomorrow Dies) also flirts with the frank sexuality and other provocations of ’60s exploitation cinema, which led to a series of censorship battles, dooming the film to decades of obscurity. CIP is thrilled to resurrect this groundbreaking classic with a new 4K restoration.   \"}' data-sheets-userformat='{\"2\":4993,\"3\":{\"1\":0},\"10\":2,\"11\":4,\"12\":0,\"15\":\"Arial\"}'\u003e\u003cspan data-sheets-root=\"1\" data-sheets-value='{\"1\":2,\"2\":\"“Larry Kent was very important to me. Those early\\nfilms were so ahead of their time.” – Atom Egoyan\\n\\nBusy navigating his final year of high school, brainy aspiring teacher Tom (Waiting for Caroline’s Robert Howay) is determined to land an elusive scholarship, but his hard work is constantly interrupted by his real obsession: pursuing the opposite sex. Before long, he develops a romance with former classmate Elaine (The Boy Who Could Fly’s Angela Gann), who persistently declines his sexual advances. This inspires Tom to consider other options, including his good-natured study buddy Kathy (Carol Pastinsky). But when they take their friendship to the next level, shocking complications threaten to derail Tom’s future, inspiring his friends to take drastic action.\\n\\nIn the wake of The Bitter Ash and the censorship battles it inspired, director Larry Kent returned with this more playful – but no less provocative – sophomore effort. An intoxicating blend of carefree sex comedy and unsparing coming-of-age drama, Sweet Substitute plays like a hedonistic reimagining of the same year’s Nobody Waved Good-bye aimed at the exploitation film market. A surprise success in the U.S. (under the title Caressed), it set the stage for Kent’s next leap forward with When Tomorrow Dies, the third and final entry in his celebrated Vancouver Trilogy.  \"}' data-sheets-userformat='{\"2\":5053,\"3\":{\"1\":0},\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"10\":2,\"11\":4,\"12\":0,\"15\":\"Arial\"}'\u003e\u003cbr\u003e1974 \/ 108 min \/ 1.66:1 \/ French DTS-HD MA 2.0\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"c-message_kit__blocks c-message_kit__blocks--rich_text\"\u003e\n\u003cdiv class=\"c-message__message_blocks c-message__message_blocks--rich_text\" data-qa=\"message-text\"\u003e\n\u003cdiv class=\"p-block_kit_renderer\" data-qa=\"block-kit-renderer\"\u003e\n\u003cdiv class=\"p-block_kit_renderer__block_wrapper p-block_kit_renderer__block_wrapper--first\"\u003e\n\u003cdiv class=\"p-rich_text_block\" dir=\"auto\"\u003e\n\u003cp\u003e\u003cspan data-sheets-userformat='{\"2\":4993,\"3\":{\"1\":0},\"10\":2,\"11\":4,\"12\":0,\"15\":\"Arial\"}' data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;A rock n' road movie about a girl who learns to drive\\n\\nAt loose ends with life in Toronto, Ramona (Highway 61’s Valerie Buhagiar) is abruptly dispatched to the wilds of Northern Ontario by her mercenary record promotor boss (eXistenZ's Gerry Quigley) to retrieve The Children of Paradise, a wayward rock band that has disappeared mid-tour. There’s only one problem: she doesn’t know how to drive. Armed with only a Walkman and the clothes on her back, she embarks on a journey that quickly introduces her to a cavalcade of oddball characters, including a cab driver with ties to Elvis, a film director in search of a muse, a singer who’s lost his voice, and an aspiring serial killer (Last Night’s Don McKellar) determined to make it big. With the help of this motley crew, Ramona hopes to push beyond her limits and mount a rock n' roll show for the ages.\\n\\nOne of the defining films of the Toronto New Wave, Roadkill immediately turned heads in 1989 with its freewheeling punk rock style – and a memorable appearance by the one and only Joey Ramone – launching the careers of director Bruce McDonald (Pontypool), star Buhagiar, and co-star\/screenwriter McKellar in the process. Boasting a now-legendary soundtrack full of local talent (and the Ramones), this first installment in McDonald’s iconic road movie trilogy (which also includes Highway 61 and Hard Core Logo) is a wickedly funny and enduringly hip DIY joyride. Buckle up!\u0026quot;}\" data-sheets-root=\"1\"\u003e\u003cspan data-sheets-root=\"1\" data-sheets-value='{\"1\":2,\"2\":\"\\\"Larry Kent was a heroic figure for me... I loved him on the spot.\\\" – David Cronenberg    \\n\\nWith a dead-end job and a potentially pregnant girlfriend jeopardizing his freedom, Des (Cathy’s Curse’s Alan Scarfe) spirals into bitterness, misanthropy, and fantasies of violent crime. While visiting a sick friend one afternoon, he crosses paths with the similarly jaded, even suicidal Laurie (Lynn Stewart), a young parent working as a waitress to provide for her child and struggling playwright husband (Philip Brown). Desperate to recapture a sense of vitality – and raise money for rent – this troubled couple invites Des and a group of local beatniks over for a hedonistic party that culminates in a series of shocking acts of violence and betrayal.    \\n\\nMade for just $5,000, The Bitter Ash is the first feature from celebrated independent filmmaker Larry Kent, a cinematic trailblazer cited as a key influence by countrymates David Cronenberg and Atom Egoyan. Playing like a Canadian answer to John Cassavetes’ Shadows, this first entry in Kent’s seminal Vancouver Trilogy (followed by Sweet Substitute and When Tomorrow Dies) also flirts with the frank sexuality and other provocations of ’60s exploitation cinema, which led to a series of censorship battles, dooming the film to decades of obscurity. CIP is thrilled to resurrect this groundbreaking classic with a new 4K restoration.   \"}' data-sheets-userformat='{\"2\":4993,\"3\":{\"1\":0},\"10\":2,\"11\":4,\"12\":0,\"15\":\"Arial\"}'\u003e\u003cspan data-sheets-root=\"1\" data-sheets-value='{\"1\":2,\"2\":\"“Larry Kent was very important to me. Those early\\nfilms were so ahead of their time.” – Atom Egoyan\\n\\nBusy navigating his final year of high school, brainy aspiring teacher Tom (Waiting for Caroline’s Robert Howay) is determined to land an elusive scholarship, but his hard work is constantly interrupted by his real obsession: pursuing the opposite sex. Before long, he develops a romance with former classmate Elaine (The Boy Who Could Fly’s Angela Gann), who persistently declines his sexual advances. This inspires Tom to consider other options, including his good-natured study buddy Kathy (Carol Pastinsky). But when they take their friendship to the next level, shocking complications threaten to derail Tom’s future, inspiring his friends to take drastic action.\\n\\nIn the wake of The Bitter Ash and the censorship battles it inspired, director Larry Kent returned with this more playful – but no less provocative – sophomore effort. An intoxicating blend of carefree sex comedy and unsparing coming-of-age drama, Sweet Substitute plays like a hedonistic reimagining of the same year’s Nobody Waved Good-bye aimed at the exploitation film market. A surprise success in the U.S. (under the title Caressed), it set the stage for Kent’s next leap forward with When Tomorrow Dies, the third and final entry in his celebrated Vancouver Trilogy.  \"}' data-sheets-userformat='{\"2\":5053,\"3\":{\"1\":0},\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"10\":2,\"11\":4,\"12\":0,\"15\":\"Arial\"}'\u003eAdditional info:\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"c-message_kit__blocks c-message_kit__blocks--rich_text\"\u003e\n\u003cdiv class=\"c-message__message_blocks c-message__message_blocks--rich_text\" data-qa=\"message-text\"\u003e\n\u003cdiv class=\"p-block_kit_renderer\" data-qa=\"block-kit-renderer\"\u003e\n\u003cdiv class=\"p-block_kit_renderer__block_wrapper p-block_kit_renderer__block_wrapper--first\"\u003e\n\u003cdiv class=\"p-rich_text_block\" dir=\"auto\"\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan data-sheets-userformat='{\"2\":4993,\"3\":{\"1\":0},\"10\":2,\"11\":4,\"12\":0,\"15\":\"Arial\"}' data-sheets-value=\"{\u0026quot;1\u0026quot;:2,\u0026quot;2\u0026quot;:\u0026quot;A rock n' road movie about a girl who learns to drive\\n\\nAt loose ends with life in Toronto, Ramona (Highway 61’s Valerie Buhagiar) is abruptly dispatched to the wilds of Northern Ontario by her mercenary record promotor boss (eXistenZ's Gerry Quigley) to retrieve The Children of Paradise, a wayward rock band that has disappeared mid-tour. There’s only one problem: she doesn’t know how to drive. Armed with only a Walkman and the clothes on her back, she embarks on a journey that quickly introduces her to a cavalcade of oddball characters, including a cab driver with ties to Elvis, a film director in search of a muse, a singer who’s lost his voice, and an aspiring serial killer (Last Night’s Don McKellar) determined to make it big. With the help of this motley crew, Ramona hopes to push beyond her limits and mount a rock n' roll show for the ages.\\n\\nOne of the defining films of the Toronto New Wave, Roadkill immediately turned heads in 1989 with its freewheeling punk rock style – and a memorable appearance by the one and only Joey Ramone – launching the careers of director Bruce McDonald (Pontypool), star Buhagiar, and co-star\/screenwriter McKellar in the process. Boasting a now-legendary soundtrack full of local talent (and the Ramones), this first installment in McDonald’s iconic road movie trilogy (which also includes Highway 61 and Hard Core Logo) is a wickedly funny and enduringly hip DIY joyride. Buckle up!\u0026quot;}\" data-sheets-root=\"1\"\u003e\u003cspan data-sheets-root=\"1\" data-sheets-value='{\"1\":2,\"2\":\"\\\"Larry Kent was a heroic figure for me... I loved him on the spot.\\\" – David Cronenberg    \\n\\nWith a dead-end job and a potentially pregnant girlfriend jeopardizing his freedom, Des (Cathy’s Curse’s Alan Scarfe) spirals into bitterness, misanthropy, and fantasies of violent crime. While visiting a sick friend one afternoon, he crosses paths with the similarly jaded, even suicidal Laurie (Lynn Stewart), a young parent working as a waitress to provide for her child and struggling playwright husband (Philip Brown). Desperate to recapture a sense of vitality – and raise money for rent – this troubled couple invites Des and a group of local beatniks over for a hedonistic party that culminates in a series of shocking acts of violence and betrayal.    \\n\\nMade for just $5,000, The Bitter Ash is the first feature from celebrated independent filmmaker Larry Kent, a cinematic trailblazer cited as a key influence by countrymates David Cronenberg and Atom Egoyan. Playing like a Canadian answer to John Cassavetes’ Shadows, this first entry in Kent’s seminal Vancouver Trilogy (followed by Sweet Substitute and When Tomorrow Dies) also flirts with the frank sexuality and other provocations of ’60s exploitation cinema, which led to a series of censorship battles, dooming the film to decades of obscurity. CIP is thrilled to resurrect this groundbreaking classic with a new 4K restoration.   \"}' data-sheets-userformat='{\"2\":4993,\"3\":{\"1\":0},\"10\":2,\"11\":4,\"12\":0,\"15\":\"Arial\"}'\u003e\u003cspan data-sheets-root=\"1\" data-sheets-value='{\"1\":2,\"2\":\"“Larry Kent was very important to me. Those early\\nfilms were so ahead of their time.” – Atom Egoyan\\n\\nBusy navigating his final year of high school, brainy aspiring teacher Tom (Waiting for Caroline’s Robert Howay) is determined to land an elusive scholarship, but his hard work is constantly interrupted by his real obsession: pursuing the opposite sex. Before long, he develops a romance with former classmate Elaine (The Boy Who Could Fly’s Angela Gann), who persistently declines his sexual advances. This inspires Tom to consider other options, including his good-natured study buddy Kathy (Carol Pastinsky). But when they take their friendship to the next level, shocking complications threaten to derail Tom’s future, inspiring his friends to take drastic action.\\n\\nIn the wake of The Bitter Ash and the censorship battles it inspired, director Larry Kent returned with this more playful – but no less provocative – sophomore effort. An intoxicating blend of carefree sex comedy and unsparing coming-of-age drama, Sweet Substitute plays like a hedonistic reimagining of the same year’s Nobody Waved Good-bye aimed at the exploitation film market. A surprise success in the U.S. (under the title Caressed), it set the stage for Kent’s next leap forward with When Tomorrow Dies, the third and final entry in his celebrated Vancouver Trilogy.  \"}' data-sheets-userformat='{\"2\":5053,\"3\":{\"1\":0},\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"7\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"10\":2,\"11\":4,\"12\":0,\"15\":\"Arial\"}'\u003e\u003cspan data-sheets-root=\"1\" data-sheets-value='{\"1\":2,\"2\":\"• Newly scanned and restored in 4K from the original 16mm A\/B camera negatives by Canadian International Pictures with sound transferred from the original 16mm magnetic final mix \\n• New audio commentary featuring Paul Corupe of Canuxploitation.com and film historian Jason Pichonsky\\n• Archival audio commentary featuring film professor David Douglas\\n• New introduction to Sweet Substitute by Larry Kent\\n• Sweet and Sour (2024, 10 min.) – New interview with Kent\\n• Not Quite Liberated (2024, 17 min.) – New interview with Douglas\\n• New audio interview with actor Lanny Beckman (2024, 6 min.)\\n• The Caressed Cut (2024, 6 min.) – All the material added to the American release of Sweet Substitute, including the notorious striptease sequence \\n• Fantasia artist talk (2023, 81 min.) – Conversation with Kent moderated by Douglas\\n• Archival audio interview with Kent (1964, 11 min.)\\n• Booklet featuring a new Motion Picture Purgatory comic strip by Rick Trembles and an interview with graphic artist Sonja Arntzen\\n• Reversible cover artwork\\n• English SDH subtitles\"}' data-sheets-userformat='{\"2\":12973,\"3\":{\"1\":0},\"5\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"6\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"8\":{\"1\":[{\"1\":2,\"2\":0,\"5\":{\"1\":2,\"2\":0}},{\"1\":0,\"2\":0,\"3\":3},{\"1\":1,\"2\":0,\"4\":1}]},\"10\":0,\"12\":0,\"15\":\"Calibri\",\"16\":11}'\u003eRegion A Blu-ray\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eScanned and restored from the 35mm original camera negative by Éléphant - mémoire du cinéma québécois with sections from the 35mm internegative and interpositive\u003c\/li\u003e\n\u003cli class=\"li1\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003eNew audio commentary featuring filmmaker\/professor Frédérick Pelletier and author\/professor Gabrielle Tremblay\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"li1\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003eImages of Immediacy (2024, 25 min.) – New interview with author\/professor André Loiselle\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"li1\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003eLove at First Sight (2024, 17 min.) – New interview with sound recordist Serge Beauchemin\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"li1\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003eA Peaceful Nation: The Road to October 1970 (2024, 18 min.) – New interview with film historian\/professor Sylvain Garel\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"li1\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003eFilming the FLQ (2024, 17 min.) – Garel on felquism in cinema\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"li1\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003eIn the Shadow of Kafka (2024, 18 min.) – New interview with author\/professor Angelos Koutsourakis\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"li1\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003eThe October Crisis: 50 Years On-Screen (2020, 13 min.) – Interviews with filmmaker Mathieu Denis, actress Louise Forestier, actor Claude Gauthier, and filmmaker Félix Rose\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"li1\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003eMichel Brault Lives Again at Cannes Classics (2015, 13 min.) – Interviews with director Michel Brault, actors Claude Gauthier, and Jean Lapointe\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"li1\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003eOn Screen! (2008, 48 min.) – Documentary about the making of Orders\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"li1\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003eLes raquetteurs (1958, 15 min.) – Groundbreaking documentary short co-directed by Brault and Gilles Groulx\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"li1\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003eTrailers for four films directed or co-directed by Brault: Pour la suite du monde (1963), Between the Sea and Fresh Water (1967), Acadia Acadia?!? (1971), and Orders (1974)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"li1\"\u003eBooklet featuring a new essay by filmmaker Denis Côté\u003c\/li\u003e\n\u003cli class=\"li1\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003eReversible cover artwork\u003c\/li\u003e\n\u003cli class=\"li1\"\u003e\n\u003cspan class=\"s1\"\u003e\u003c\/span\u003eEnglish SDH subtitles\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Canadian International Pictures","offers":[{"title":"Default Title","offer_id":44276278657224,"sku":"CIP-031 SLIP","price":59.99,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0598\/8486\/3688\/files\/Orders_LTD1_Front_2400x_f35c761a-b6a4-4c02-818f-3efd4bda0227.webp?v=1733514207","url":"https:\/\/videomatica.com\/es\/products\/orders-limited-edition-slipcover-blu-ray","provider":"Videomatica Ltd (since 1983)","version":"1.0","type":"link"}