“Moritsugu’s films unfold like an amphetamine-laced car crash!” -Raygun Magazine

A force of nature since 1985, underground icon Jon Moritsugu—in partnership with wife Amy Davis—creates candy-colored genre riots that feel like NC-17 sitcoms from outer space. Moritsugu’s fearless, protopunk deconstructions function as a giant middle finger to everything from racism to gender expectations—while also exploring themes of Asian-American identity. Arkadin is honored to present two of AGFA’s sparkling new restorations of two of Moritsugu’s joyous, trash-art ragers on the big screen.

TERMINAL USA (1993)
Holly (Jenny Woo), Marvin (writer/director Jon Moritsugu), and Katzumi (Moritsugu again) are average Asian-American teenage siblings with not-so-average predilections for backstabbing, kinky sex, and drug-fueled freakouts. Neglected by their parents, the kids turn to outside “help” (including the scene-stealing Amy Davis, Moritsugu’s wife and longtime collaborator) in order to escape their bored existence. Naturally, this leads to gore killings, sex tapes, and the most hilarious phone conversations ever captured on 16mm film. A candy-colored hellscape that feels like an episode of STRANGERS WITH CANDY that was filmed by Dario Argento during a three-day acid bender, Jon Moritsugu’s TERMINAL USA is a crucial piece of 1990s alternative cinema—smart, shocking, and one of the most deranged films to ever be funded by American taxpayers. This is the film HEATHERS wished it could be.

MOD FUCK EXPLOSION (1994)
A fucked-up teen girl (Amy Davis) looks for love and a leather jacket to call her own on the night of the big rumble between the mods and a gang of Japanese bikers in this ultra-90s rager from TERMINAL USA and MY DEGENERATION filmmaker Jon Moritsugu. Featuring a killer soundtrack by Unrest and Karyo Tengoku, cameos from queer icons Mx. Justin Vivian Bond and Leigh Crow, and a climax involving 800 lbs. of rotting beef, MOD FUCK EXPLOSION is a potent blast of teenage hate and rebellion.

In recognition of Asian-American and Pacific Islander Heritage Month, this film is screening as part of Arkadin’s spotlight on Asian-American cinema.

THEATER POLICIES

All seats are first-come, first-served.

The theater opens 30 minutes prior to showtime, except for “Happy Hour” events and pre-shows when the theater opens at the listed start time.

All ages are welcome at Arkadin except for Drinkolas Cage events, which are restricted to 21+. We follow the MPAA rating guidelines for all other films.

Tickets can be purchased using the BUY TICKETS link above. Upon ordering, you will receive a confirmation email from Square. Tickets may also be purchased on the day of the show at the concession counter.

If you’ve purchased advance tickets, when you arrive, please give your name at the concession counter to check in.

Tickets are returnable by sending a request through the contact form located on our About Us page prior to showtime.

When an event is sold out, we reserve the right to release open seats to customers on the waitlist. If you have a pre-purchased ticket and arrive late and there is no seat for you, your ticket will be refunded.

All screenings are held in our indoor theater unless indicated otherwise in the event description above.

Please respect your fellow movie-goers by remaining quiet and refraining from using your cell phone throughout the screening.