Amoeba Music

Take the conventions of the American teen movie, transpose them to Los Angeles’s freaky fringes, anchor them in an unapologetic vision of sexual fluidity, and top it all off with heavy doses of Gen X disillusionment, gonzo violence, and hallucinogenic surrealism, and you’ll end up with something like these audacious transgressions from New Queer Cinema renegade Gregg Araki. Gleefully mixing slacker irony with raw sincerity, Godardian cool with punk scuzz, the savagely subversive, hormone-fueled films that make up the Teen Apocalypse Trilogy pushed 1990s indie cinema into bold new aesthetic realms, while giving blistering expression to adolescent rage and libidinal desire.

Special Features:

• New 2K digital restoration of Totally Fucked Up and new 4K digital restorations of The Doom Generation and Nowhere, supervised and approved by director Gregg Araki, with 5.1 surround DTS-HD Master Audio soundtracks
• In the 4K UHD edition: One 4K UHD disc of The Doom Generation and Nowhere and two Blu-rays with all three films and the special features
• New conversation between director Gregg Araki and filmmaker Richard Linklater
• New audio commentary on Nowhere with Araki and actors James Duval, Rachel True, Nathan Bexton, Jordan Ladd, Sarah Lassez, Guillermo Diaz, and Jaason Simmons
• Audio commentary on Totally F***ed Up with Araki, Duval, and actor Gilbert Luna
• Audio commentary on The Doom Generation with Araki, Duval, and actors Rose McGowan and Johnathon Schaech
• New documentary on the trilogy’s visual style featuring Araki, Duval, producer Andrea Sperling, cinematographer Jim Fealy, costume designers Cathy Cooper and SaraJane Slotnick, production designer Patti Podesta, art director Michael Krantz, and hair and makeup artist Jason Rail
• James Duval’s Teen Apocalypse Archive, a new conversation between Araki and Duval
• Q&As with Araki, moderated by filmmakers Gus Van Sant and Andrew Ahn
• The Doom Generation video comic book
• Trailers
• English subtitles for the deaf and hard of hearing
• An essay by critic Nathan Lee