Two Boxes: Televised Terror in Franco's Spain: Limited Edition – Transmission Video Distribution (Blu-ray)

Release Dates: Spain, 1972 (La cabina), Spain, 1974 (El televisor)
Directors: Antonio Mercero (La cabina), Narciso Ibáñez Serrador (El televisor)
Cast: José Luis López Vázquez, Agustín González, Goyo Lebrero, Tito García (La cabina), Narciso Ibáñez Menta, María Fernanda D'Ocón, Kiti Mánver, José Miguel Aguado, Rafael Navarro, Sergio Doré, Estanis González (El televisor)

Release Date: August 3rd, 2026
Approximate Running Times: 35 Minutes 54 Seconds (La cabina), 67 Minutes 57 Seconds (El televisor)
Aspect Ratio: 1.33:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (Both Films)
Rating: 12 (UK)
Sound: LPCM Mono Spanish (Both Films)
Subtitles: English (Both Films)
Region Coding: Region Free
Retail Price: £19.99 (UK)

"Spain in the early 1970s was a country in transition, with increasing economic prosperity and the expectations of a growing middle class in direct conflict with the dying Francoist regime, where state surveillance, media censorship, and social control were still the norm. Inspired by mystery-horror anthology series such as Alfred Hitchcock Presents and The Twilight Zone, this unique period in history is depicted with terrifying clarity and dark humor in these two infamous television films: La cabina and El televisor. 

In Antonio Mercero’s La cabina, a group of officials install a telephone box outside a block of flats. After a man enters to make a phone call, he finds himself unable to leave, attracting the attention of fascinated locals as he grows increasingly desperate to escape. A sensation upon release, La cabina also developed a huge cult following in the UK after regularly screening on late-night TV.

In Narcisco Ibáñez Serrandor’s El televisor, a man living a dreary suburban life has a simple dream: to possess his own television. When he finally gets his wish, the dream soon becomes a dangerous, all-consuming obsession. Originally a special episode of Serrandor’s hugely popular series Tales to Keep You Awake, El televisor’s escalating dread and shocking conclusion still retains its power to shock over 50 years later." - synopsis provided by the distributor

Video: 4.25/5 (La cabina), 3.75/5 (El televisor)

Here’s the information provided about the transfer, "La cabina was supplied to Radiance Films as a high-definition digital file by Televisión Española.

El televisor was supplied to Radiance Films as a high-definition digital file by Televisión Española. Additional clean-up was performed by Radiance Films."

La cabina and El televisor come on a 50 GB dual layer Blu-ray.

Disc Size: 43.1 GB

Feature: 9.6 GB (La cabina), 18.3 GB (El televisor)

La cabina is in better shape than El televisor, which exhibits more noticeable source-related debris. Flesh tones and colors look correct, image clarity and black levels are strong, and there are no issues with compression.

Audio: 4/5 (La cabina - LPCM Mono Spanish, El televisor - LPCM Mono Spanish)

Each film comes with one audio option, a LPCM mono mix in Spanish with removable English subtitles. Both tracks sound clean, clear, and balanced.

Extras:

Extras for this release include an interview with Spanish film expert Antonio Lazaro-Reboll on horror in Francoist Spain (37 minutes 34 seconds, Dolby Digital stereo English, no subtitles), an archival interview with co-screenwriter of La cabina Jose Luis Garci (18 minutes 19 seconds, Dolby Digital stereo Spanish with removable English subtitles), an archival La cabina location featurette with Antonio Mercero Santos (13 minutes 6 seconds, Dolby Digital stereo Spanish with removable English subtitles), an archival press conference from 1999 with director Narciso Ibanez Serrandor promoting El televisor (6 minutes 47 seconds, Dolby Digital stereo Spanish with removable English subtitles), an audio commentary with writers and filmmakers Reece Shearsmith and Steve Pemberton for La cabina, an audio commentary with film critics and horror experts Jonathan Rigby and Kevin Lyons for El televisor, a removable OBI strip leaving packaging free of certificates and markings, an O-card slipcover (limited to 5,000 copies), a 36-page booklet (limited to 5,000 copies) with cast & crew information, an essay titled Two Boxes: Televised Terror in Franco's Spain written by Alex Mendibil, an essay titled Fear of the Box: The Late Night Legend of La cabina on British TV written by Paul Martinovic, and information about the transfer.

Summary:

La cabina: A man goes inside a recently installed telephone box; when he tries to make a call, the phone does not work. When he tries to leave the telephone box, it has become sealed and impenetrable. From there, a crowd gathers and quickly grows in size, and any attempt to free is unsuccessful.

For a film that only clocks in at 36 minutes, La cabina conveys so much in regard to social commentary and subtext. Themes explored bureaucratic inefficiency, psychological distancing, and isolation. La cabina is a film overflowing with psychological horror, which is mostly conveyed through the use of black humor. That said, what is happening to the protagonist is no laughing matter.

While there are several people who try to help the protagonist and an abundance of spectators enjoying his plight, there is really only one actor who stands out: José Luis López Vázquez in the role of the protagonist. He delivers a remarkable performance that perfectly conveys his character's fright and hopelessness. Confined in a small space, so much of his performance relies on his body language.

The most striking aspect of La Cabina is the visuals and how they constantly come up with interesting compositions despite its confined space. Another area where the visuals excel is their ability to create and sustain a forbidding mood. The narrative masterfully builds tension, culminating in the revelation of the protagonist's fate. Its finale is an exclamation mark on the dangers of institutional inefficiency with the cycle of events starting over. Ultimately, La cabina is a surrealist nightmare that explores universal themes that are all too real.

El televisor: Narciso Ibáñez Serrador directed El televisor. He’s most known for The House That Screamed, Who Can Kill a Child, and Twilight Zone-like television series Historias para no dormir.

A man who has spent his life doing what is right, always going to work, and providing for his family finally has enough money to buy the television he’s longed for. What starts off as a moment of escapism turns into a waking nightmare when he’s unable to distinguish between reality and fantasy.  

El Televisor is best described as a psychological melodrama with horror and fantasy elements. A common trend in early 1970s Spanish cinema is to use horror elements to convey social commentary, because any other genre would have censored said content. The most notable themes explored in El Televisor are consumerism and media consumption. While the themes being explored veer into dark territories, they are laced with a subversive humor.

All around, the cast are outstanding in their roles, especially Narciso Ibáñez Menta (the director’s father) in the role of the protagonist, a bank employee named Enrique. He delivers an utterly convincing performance of a man who loses sight of what is really important and gets overwhelmed by his obsession. María Fernanda D'Ocón gives an equally compelling performance in the role of Susana, Enrique’s wife.

The visuals, while not overly stylish, mostly let the performances be the focal point. The narrative does an excellent job drawing you in, and from there it effectively builds upon a series of tense moments that culminate with a carnage-filled finale. Another strength of El Televisor is how well it taps into elements that are universal and highlight their sinister undertones. Ultimately, El Televisor is an extraordinary film that’s overflowing with imagination and foreboding atmosphere.

The best part of cinema is venturing outside of your comfort zone and discovering something unexpected. While I am familiar with 1970s Spanish cinema, La cabina and El televisor were two genuine surprises. That said, Transmission Video Distribution’s Two Boxes: Televised Terror in Franco's Spain is a must-have purchase for fans of 1970s Spanish cinema, and I regard it as one of 2026’s best home media releases. Highly recommended.

Written by Michael Den Boer

Visitor Q: Limited Edition – New Wave Video (Blu-ray)

Theatrical Release Date: Japan, 2001
Director: Takashi Miike
Writer: Itaru Era
Cast: Kenichi Endō, Shungicu Uchida, Kazushi Watanabe, Fujiko, Jun Mutō, Shōko Nakahara

Release Date: June 22nd, 2026
Approximate Running Time: 84 Minutes 11 Seconds
Aspect Ratio: 1.33:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC
Rating: NR (Australia)
Sound: LPCM stereo Japanese
Subtitles: English
Region Coding: Region Free
Retail Price: $34.95 AUD (Australia)

"A deeply dysfunctional family is pushed to the brink when a mysterious stranger enters their home, unleashing long-suppressed tensions and laying bare their most disturbing taboos. His silent presence sets off a series of shocking transformations, compelling each member to confront their darkest impulses." - synopsis provided by the distributor

Video: 3.75/5

Here’s the information provided about this release's transfer, "Visitor Q is presented in its original aspect ratio of 1.33:1. The film was shot on a Sony DCR-VX1000 MiniDV digital camera.

For this release, the original MiniDV master tape was scanned in 2025 by TRUSTECH JAPAN CO., LTD. This new scan presents the film in the highest possible quality while preserving the inherent limitations of the original source format."

Visitor Q comes on a 50 GB dual layer Blu-ray.

Disc Size: 39.2 GB

Feature: 22.2 GB

Knowing the limitations of the source and my previous experiences of watching Blu-rays of films shot on video, I went in with low expectations. That said, the result is easily the best-looking Blu-ray release of a shot on video that I have seen to date.

Audio: 4.25/5

This release comes with one audio option, a LPCM stereo mix in Japanese with removable English subtitles. The audio is clean, clear, and balanced, and range-wise, ambient sounds are well-represented.

Extras:

Extras for this release include a theatrical trailer (1 minute 37 seconds, LPCM stereo Japanese with non-removable English subtitles), an introduction by filmmaker and film historian Andrew Leavold (8 minutes 59 seconds, LPCM stereo English, no subtitles), an appreciation by film critic Ron Pettersson titled Descent in Digital Hell: Visitor Q Then and Now (22 minutes 14 seconds, LPCM stereo English, no subtitles), a video essay by Japanese cinema expert Joe Hickinbottom titled Distorted Disturbances: The Radical Digital Aesthetics of Visitor Q (23 minutes 5 seconds, LPCM stereo English, no subtitles), an interview with director Takashi Miike (31 minutes 28 seconds, LPCM stereo Japanese with non-removable English subtitles), reversible cover art, a slipcover, and a 24-page booklet with an essay titled Broadcast Lives: Voyeurism and Family Deconstruction in Visitor Q written by Michelle Kisner, an essay titled Father’s Blood, Mother’s Milk: Dissecting the Politics of Visitor Q’s Fucked Up Family written by Amber T, and information about the transfer.

Summary:

Takashi Miike directed Visitor Q. His filmography stretches over 45 years and encompasses over 120 entries, including notable films like The Bird People of China, Agitator, Ichi the Killer, Audition, The Happiness of the Katakuris, Gozu, and Lesson of the Evil. Visitor Q was the sixth and final installment of six straight video films known as the Love Cinema series. 

A mysterious stranger forces his way into a dysfunctional family life and unleashes their libidos.

Takashi Miike never shies away from controversial subject matter. Whether it is taboo subject matter or extreme moments of carnage, his films have no boundaries. That brings us to Visitor Q, who is arguably his most provocative and boundary-pushing film. Before any characters are introduced, Visitor Q begins with a character saying, "Have you ever done it with your dad?” Not only does that one line of dialogue set the stage for what follows, it perfectly encapsulates the essence of Visitor Q, a film that provokes and has no limits to where it might go.

Visitor Q’s premise bears a strong resemblance to Pier Paolo Pasolini's Teorema. Both films revolve around a mysterious stranger who works their way into a family's lives and corrupts them morally. The family in Visitor Q is already dysfunctional before the stranger arrives. The father, a news reporter, has sex with his prostitute daughter, and a bullied son turns his aggression on his mother. While the strangers' intervention accelerates their perversions, he does not introduce something that was not already deep inside of them.

Takashi Miike really leans into elements that make you feel uneasy. Besides the father-daughter sexual encounter that opens with Visitor Q, there is a scene where the father trying to do a news report is sodomized with his microphone by juvenile delinquents and a scene where the stranger milks the mother's breasts. Visitor Q saves its most shocking moment for its finale, where the father kills a co-worker, keeps her corpse, and repeatedly has sex with it. That said, there is an escalation of perversion and carnage that builds to the fever-pitch climax.

Shot in 7 days with a digital camera for 8 million yen ($50,000), it is astonishing what Visitor Q accomplishes. Although there was a basic framework for the narrative, there was a considerable amount of improvising, which allowed the cast and crew a tremendous amount of freedom to create. When it comes to the performances, the cast go all in and their enthusiasm is infectious. Ultimately, Visitor Q is an arthouse film masquerading as an exploitation film.

Visitor Q gets an exceptional release from New Wave Video that comes with a strong audio/video presentation and insightful extras. Highly recommended.

Written by Michael Den Boer

The Tournament – 88 Films (Blu-ray)

Theatrical Release Date: Hong Kong, 1974
Director: Huang Feng
Writer: Huangpu Kuan-Hua
Cast: Angela Mao, Carter Wong, Hwang In-Shik, Guan Shan, Maria Yi Yi, Wong Sam, Sammo Hung Kam-Bo

Release Date: August 25th, 2026
Approximate Running Time: 98 Minutes 44 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: LPCM Mono Mandarin, LPCM Mono English
Subtitles: English
Region Coding: Region A
Retail Price: $29.95

"After one of his students dies at a martial arts tournament in Thailand, kung fu master Lau (Ko Hisiang-ting) suffers deep dishonour and kills himself. His children - Carter Wong (Big Trouble in Little China) and Angela Mao, Lady Whirlwind herself - vow to restore his reputation, and that of Hong Kong kung fu. But to do so, they'll have to travel to Thailand themselves and fight in the same tournament - but if they fail, they could lose everything." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about this release's transfer, "2K restoration from the original negative."

The Tournament comes on a 50 GB dual layer Blu-ray.

Disc Size: 36.6 GB

Feature: 28.4 GB

The sources look excellent; flesh tones and colors look correct, image clarity and black levels are strong, compression is solid, and there are no issues with digital noise reduction.

Audio: 4.25/5 (Both Audio Tracks)

This release comes with two audio options, a LPCM mono mix in Mandarin and a LPCM mono mix in English. Both tracks sound clean, clear, and balanced, and fight scenes sound appropriately robust. Included are removable English subtitles for the Mandarin language track and removable English subtitles for Mandarin text when watching with the English language track.

Extras:

Extras for this release include an image gallery with music from the film playing in the background (lobby cards/stills/posters), a theatrical trailer (3 minutes 52 seconds, Dolby Digital mono Mandarin with burnt-in English subtitles), English-language openings and closing credits (1 Minute 27 seconds, Dolby Digital mono), an interview with Carter Wong titled Muay Thai Memories (11 minutes 30 seconds, Dolby Digital stereo Cantonese with non-removable English subtitles), an interview with Ricky Baker titled An Absolute Knockout (12 minutes 52 seconds, Dolby Digital stereo English, no subtitles), an audio commentary with Asian cinema experts Frank Djeng and Michael Worth, reversible cover art, a double-sided foldout poster, and an O-card slipcase (limited to the first pressing).

Summary:

Huang Feng directed The Tournament. He’s known for The Shaolin Plot, Naked Comes the Huntress and his nine collaborations with Angela Mao.

Two students who are part of the Chinese Martial Arts Association disgrace them when one of them dies and the other is injured in a boxing tournament in Thailand.

The premise follows a trend set by Fist of Fury, Chinese martial arts against other countries' fighting styles. This film pits Chinese martial arts against Thailand’s Mauy Thai. That said, where other similar-themed films would showcase how Chinese martial arts is superior, The Tournament’s protagonist Lau Siu-Fung studies Mauy Thai and changes her fighting style to combat it.

The opening setup does an excellent job setting the foundation. While the story starts off about saving a sister who’s been kidnapped by gangsters, it turns into a story about revenge when the protagonist's father kills himself. There is never a shortage of tense moments, which the narrative effectively builds upon and an exemplary final provides a very satisfying conclusion.

Angela Mao (When Taekwondo Strikes) delivers another outstanding performance in the role of Lau Siu-Fung. While so many actors were propped up as a possible successor to Bruce Lee, Angela Mao, more than any other, came the closest. Where others try to emulate Bruce Lee, she brought a uniqueness to her roles that made her standout among her peers.

All around, the acting is excellent. Other notable cast members are Carter Wong (Big Trouble in Little China), who portrays Lau Siu-Fung’s brother, and Sammo Hung Kam-Bo (The Magnificent Butcher), who portrays one of the leaders of the Martial Arts Association. Sammo Hung Kam-Bo also played a pivotal role in choreographing the fight scenes.

When compared to other martial arts films from this era, The Tournament features a different kind of action that leans more into Mauy Thai than martial arts. Although the Mauy Thai tournament scenes are the focal point of the action, the moments where Angela Mao showcases Chinese martial arts are the highlight. Ultimately, The Tournament is a solid revenge-themed martial arts film.

The Tournament gets an excellent release from Eureka Video that comes with a solid audio/video presentation and informative extras. Highly recommended.

Written by Michael Den Boer

Into the Forest: Folktales at DEFA – Eureka Video (Blu-ray)

Theatrical Release Dates: East Germany, 1955 (The Devil from Mill Mountain), East Germany, 1957 (The Singing Ringing Tree), East Germany, 1960 (Rumpelstiltskin), East Germany, 1962 (Little Red Riding Hood), East Germany, 1977 (The Devil's Three Golden Hairs)
Directors: Herbert Ballmann (The Devil from Mill Mountain), Francesco Stefani (The Singing Ringing Tree), Christoph Engel (Rumpelstiltskin), Götz Friedrich (Little Red Riding Hood), Egon Schlegel (The Devil's Three Golden Hairs)
Cast: Eva Kotthaus, Hans-Peter Minetti, Willy A. Kleinau, Werner Peters, Hans Klering, Aribert Grimmer (The Devil from Mill Mountain), Christel Bodenstein, Charles Hans Vogt, Eckart Dux, Richard Krüger, Dorothea Thiesing, Günther Polensen (The Singing Ringing Tree), Karin Lesch, Karl-Heinz Rothin, Reinhard Michalke, Peter Dommisch, Nikolaus Paryla, Bodo Mette (Rumpelstiltskin), Blanche Kommerell, Helga Raumer, Horst Kube, Friedel Nowack, Werner Dissel, Harald Engelmann, Ernst-Georg Schwill, Jochen Bley, Waltraud Lohrmann (Little Red Riding Hood), Hans-Joachim Frank, Kurt Radeke, Rolf Ludwig, Katrin Martin, Wolfgang Greese, Hannjo Hasse, Fred Ludwig, Peter Köhncke (The Devil's Three Golden Hairs)

Release Date: July 27th, 2026
Approximate Running Times: 86 Minutes 29 Seconds (The Devil from Mill Mountain), 74 Minutes 53 Seconds (The Singing Ringing Tree), 72 Minutes 23 Seconds (Rumpelstiltskin), 71 Minutes 43 Seconds (Little Red Riding Hood), 92 Minutes 19 Seconds (The Devil's Three Golden Hairs)
Aspect Ratio: 1.37:1 Aspect Ratio / 1080 Progressive / MPEG-4 AVC (All Films Except The Devil's Three Golden Hairs), 1.78:1 Widescreen / 1080 Progressive / MPEG-4 AVC (The Devil's Three Golden Hairs)
Rating: 12 (UK)
Sound: LPCM Mono German (All Films), LPCM Mono English (The Singing Ringing Tree, The Devil's Three Golden Hairs)
Subtitles: English (All Films)
Region Coding: Region B
Retail Price: £44.99 (UK)

"In The Devil from Mill Mountain, a greedy miller attracts the ire of forest spirits when he and his accomplices disguise themselves as demons to burn down a rival mill. In The Singing Ringing Tree, a young prince must find a legendary tree to win the heart of an icy princess – and risks being transformed into a bear if she fails to fall in love with him. Rumpelstiltskin follows a young woman whose boastful father claims she can spin straw into gold, leading her to make an ill-advised pact with a magical imp. Then, the eponymous Little Red Riding Hood sets off to see her sick grandmother, relying on her friends the rabbit and the bear to help her evade the cunning fox and the big bad wolf. Finally, The Devil’s Three Golden Hairs sees an unfortunate young man tasked with travelling into hell to retrieve three golden hairs from the Devil himself." - synopsis provided by the distributor

Video: 4/5 (Rumpelstiltskin, Little Red Riding Hood, The Devil's Three Golden Hairs), 3.5/5 (The Devil from Mill Mountain, The Singing Ringing Tree)

Here’s the information provided about this release's transfer, "1080p HD presentations of all five films from restorations by the DEFA Foundation."

The Devil from Mill Mountain and The Singing Ringing Tree come on a 50 GB dual layer Blu-ray.

Disc Size: 44.5 GB

Feature: 21.4 GB (The Devil from Mill Mountain), 18.6 GB (The Singing Ringing Tree)

Rumpelstiltskin and Little Red Riding Hood come on a 50 GB dual layer Blu-ray.

Disc Size: 42.5 GB

Feature: 20.6 GB (Rumpelstiltskin), 19.5 GB (Little Red Riding Hood)

The Devil's Three Golden Hairs comes on a 50 GB dual layer Blu-ray.

Disc Size: 38.3 GB

Feature: 26.7 GB

Little Red Riding Hood and The Devil's Three Golden Hairs sources look comparable to Deaf Crocodile’s 2026 Blu-ray release. All of the films exhibit flesh tones and colors that look correct; the image is generally strong; and there are no issues with compression. That said, like Deaf Crocodile’s release, there is digital noise reduction that varies in severity. The worst-looking transfers are The Devil from Mill Mountain and The Singing Ringing Tree.

Audio: 4/5 (LPCM Mono German - All Films, LPCM Mono English - The Devil’s Three Golden Hairs), 3.5/5 (LPCM Mono English - The Singing Ringing Tree)

Each film comes with a LPCM mono mix in German with removable English subtitles. While all tracks sound clean, clear, and balanced, they are limited range-wise. The Singing Ringing Tree and The Devil’s Three Golden Hairs also come with a LPCM mono mix in English with removable English subtitles for text in German. The Devil’s Three Golden Hairs sounds clean, clear, and balanced, while The Singing Ringing Tree has some background hiss and other minor imperfections.

Extras:

Extras on disc one include Fairytales and Nightmares—new interview with writer, broadcaster, and Fortean Times columnist Bob Fischer on the history of The Singing Ringing Tree (21 minutes 24 seconds, LPCM stereo English, no subtitles), an archival interview with actress Christel Bodenstein (16 minutes 33 seconds, LPCM stereo German with non-removable English subtitles), and an audio commentary with film historian Michael Brooke for The Devil from Mill Mountain.

Extras on disc two include The Wolf and the Seven Little Goats, a short cut-out animation adapted from the Brothers Grimm story by the DEFA studio for animation film (10 minutes 21 seconds, 1.37:1 aspect ratio, LPCM mono German with removable English subtitles), and an audio commentary with Sam Goff, editorial director for Klassiki and host of The Klassiki Kino Club podcast for Rumpelstiltskin.

Extras on disc three include a video essay on the depiction of the Devil in folktales from the Brothers Grimm to DEFA by film and literature scholar Mary Going titled DEFA and the Devil (25 minutes 18 seconds, LPCM stereo English, no subtitles), The Magic Scissors, a short silhouette animation inspired by traditional folktales and produced by the DEFA studio for animation film (19 minutes 7 seconds, 1.37:1 aspect ratio, LPCM mono German with removable English subtitles), and Sleeping Beauty Was a Beautiful Child, a short puppet animation adapted from Sleeping Beauty by the DEFA studio for animation film (5 minutes 19 seconds, 1.37:1 aspect ratio, LPCM mono German with removable English subtitles).

Other extras include reversible cover art, a hardbound slipcase (limited to 2,000 copies), and a 60-page book (limited to 2,000 copies) with cast & crew information for each film, an essay titled Work, Wealth, and Ordinary Women: An Introduction to DEFA’s Folktales written by Sebastian Heiduschke, Forest Fairies: Notes on Folktales at DEFA written by Sonja Fritzsche, Qinna Shen, and Elizabeth Ward, Brothers Grimm Folktales translated by Margaret Hunt, and information about the transfer titled Notes on Viewing.

Summary:

The Devil from Mill Mountain: A greedy windmill farmer and some accomplices dress up like devils and burn down a rival windmill farmer’s land.

While most of DEFA’s fairy tales are based on stories written by the Brothers Grimm, The Devil from Mill Mountain is based on folklore from the Harz region, a low mountain range in Germany. The Devil from Mill Mountain, like all of DEFA’s fairy tales, is a morality tale, and the theme this time around is greed.

The narrative is exposition-driven, and it has many moving parts. Besides the aforementioned greedy windmill farmer, there is a love story that revolves around an orphan named Anne and a man named Jörg. After the fire, the greedy windmill farmer uses the stolen flour from the burned-down windmill farm to further exploit the locals and become richer. The fire also keeps Anne and Jörg apart; Anne is forced to work for the greedy windmill farmer, while Jörg finds employment at a nearby castle working for a sadistic steward.

Athough there are fairy tale elements, notably three spectral characters named Good Coal-Burners, the result is a film that’s actually closer to a melodrama. That said, the narrative has many peaks and valleys, and its deliberate pacing some might find slow-moving. When it comes to the performances, they suit the story that unfolds really well. The most memorable performance is by Willy A. Kleinau, who portrays the greedy windmill farmer. Ultimately, The Devil from Mill Mountain’s positives outweigh any of its negatives.

The Singing Ringing Tree: A prince trying to win the heart of a stubborn princess goes on a magical journey to retrieve for her the Singing Ringing Tree.

While there are some elements from the Brothers Grimm’s The Dwarf, the Fox, and the Princess, The Singing Ringing Tree’s main source of inspiration is based on the German fairy tale The Singing, Ringing Tree, or the Punished Presumption. The Singing Ringing Tree is a fantasy film featuring a character who transforms into a bear and another character, a dwarf, who possesses the ability to alter his surroundings at will. That said, The Singing Ringing Tree is yet another morality tale that explores selfishness and inner beauty.

From its opening moments, the narrative does a superb job captivating you. It is a story that’s overflowing with imagination and there are an ample amount of surprises. Along the way the prince and princess face many challenges, and it is how they react to them that makes them stronger. All around, the acting is solid, especially Christel Bodenstein’s portrayal of a selfish princess who only learns the error of her ways after being turned ugly and forced to become self-reliant. Another performance of note is Richard Krüger’s portrayal of a mischievous dwarf who uses his magical powers to keep the prince and princess from finding happiness. Ultimately, The Singing Ringing Tree is an exemplary film, making it one of the best examples of DEFA’s fairy tales. 

Rumpelstiltskin: A lazy mill owner makes up a tale about his daughter being able to spin straw into gold to avoid paying taxes. The king's treasure demands a demonstration and the mill owner's daughter is then locked in a room. In the morning when gold replaces straw, the king's demand for more gold further complicates things.

No name is more synonymous with fairy tales than the Brothers Grimm. Rumpelstiltskin is one of the Brothers Grimm's most famous stories, having been adapted for film numerous times. That said, Rumpelstiltskin is a morality tale about greed and how its cure is taking something away that is more important.

The narrative quickly draws you in and holds your attention as each new lie from the father character digs a deeper hole for his daughter. While social commentary about greed is the driving force of the narrative, one must not overlook the significant role that humor plays. The moments with the magical imp Rumpelstiltskin and the father character are where all of the humor lies.

While many of DEFA’s fairy tales were made on very limited budgets, the more memorable ones always overcame their limitations. This is most certainly the case with Rumpelstiltskin, a film that’s bursting with imagination and full of wonder. Ultimately, Rumpelstiltskin is a highly entertaining film that perfectly balances fantasy and humor.

Little Red Riding Hood: A little girl named Red Riding Hood travels the treacherous forest with her bunny friend on her way to visit her sick grandmother. 

Red Riding Hood is another character and story that has been adapted into numerous films over the years. Although Götz Friedrich’s Little Red Riding Hood brings little that is new to the table, it never strays too far away from the source story’s core elements. Red Riding Hood is constantly looking for the positive in everyone, and it is her naivety that puts her in danger. Little Red Riding Hood is a story firmly rooted in deception; there is a wolf and a fox who want to eat Red Riding Hood, and they try to deceive her in various disguises.

While Little Red Riding Hood’s production design is not as stripped down as Frau Holle, its costumes, specifically the ones that are clearly people in obvious animal suits, reveal the film’s lack of resources. At 72 minutes in length, the narratives' peaks and valleys are well handled, and pacing is never an issue. Considering the subject matter, it's not surprising that a few scenes are grim, notably a scene where the mother cuts open the wolf to remove a still-alive grandmother from his stomach. That said, the film does remarkably well when it comes to its use of humor. Ultimately, Götz Friedrich’s Little Red Riding Hood is too much by the numbers, making its shortcomings more glaring.

The Devil's Three Golden Hairs: Jakob, a blacksmith's apprentice, crosses paths with the king and enrages him. The king gives him a letter calling for his execution. Before Jakob is able to deliver said letter, his former coworkers get ahold of it and rewrite it. When Jakob finally delivers the letter, it says that he’s supposed to marry the king’s daughter.

While The Devil's Three Golden Hairs is a film firmly rooted in fantasy, it also leans heavily into humor. The protagonist Jakob is a klutz and those around him are often the recipients of clumsiness, which often ends with bodily harm. Knowing Jakob’s limitations, the king tries to prevent him from marrying his daughter by insisting that he retrieve the devil’s three golden hairs.

By far, The Devil's Three Golden Hairs is DEFA’s most accomplished fairy tale film and one of its longest in duration, clocking in at 92 minutes. Its production design, which is for the most part solid, does an excellent job pulling you in to the world depicted. When Jakob ventures into hell, these moments are where the production design excels the most. While The Devil's Three Golden Hairs is a colorful film, the use of color for the scenes in hell is striking.

As mentioned before, humor plays a significant role in the story that unfolds. While there is an absurdist quality to the events, the performances at times are a little over the top, notably Rolf Ludwig’s delirious portrayal of the king. When it comes to pacing, there is never an issue, as the narrative does a superb job building to its finale. Ultimately, The Devil's Three Golden Hairs is a very satisfying blend of humor and fantasy that fans of fairy tales should thoroughly enjoy.

While there are many who are disappointed in the use of digital noise reduction for these masters, the blame lays with the rights holder and not Eureka Video. That said, if Eureka Video rejected the masters, these films would languish in obscurity. Despite the master's shortcomings, I still recommend Into the Forest: Folktales at DEFA.

Written by Michael Den Boer