A young Brooke Shields meets an untimely end in this religious-themed proto slasher par excellence from director Alfred Sole.

On the day of her first communion, young Karen (Brooke Shields) is savagely murdered by an unknown assailant in a yellow rain mac and creepy translucent mask. But the nightmare is far from over – as the knife-wielding maniac strikes again and again, Karen’s bereaved parents are forced to confront the possibility that Karen’s wayward sister Alice might be the one behind the mask.

Bearing influences from the likes of Hitchcock, the then-booming Italian giallo film and more specifically, Nicolas Roeg’s Don’t Look Now, Alice, Sweet Alice is an absolutely essential – if often overlooked – entry in the canon of 1970s American horror.

FEATURES:

Brand new 4K restoration by Arrow Films from the original camera negative

4K (2160p) Ultra HD presentations of three versions via seamless branching: Communion (original), Alice, Sweet Alice (theatrical) and Holy Terror (re-release)

Original lossless mono audio

Optional English subtitles for the deaf and hard of hearing

Brand new audio commentary with Richard Harland Smith

Archival audio commentary with co-writer/director Alfred Sole and editor M. Edward Salier

First Communion: Alfred Sole Remembers Alice, Sweet Alice – director Alfred Sole looks back on his 1976 classic

Alice on My Mind – a brand new interview with composer Stephen Lawrence

In the Name of the Father - brand new interview with actor Niles McMaster

Sweet Memories: Dante Tomaselli on Alice, Sweet Alice – filmmaker Dante Tomaselli, cousin of Alfred Sole, discusses his longtime connection to the film

Lost Childhood: The Locations of Alice, Sweet Alice - a tour of the original Alice, Sweet Alice shooting locations hosted by author Michael Gingold

Deleted scenes

Split-screen version comparison

Trailer and TV Spot

Image gallery, including the original screenplay

Reversible sleeve featuring original and newly commissioned artwork by Gilles Vranckx

Illustrated collectors booklet featuring new writing on the film by Michael Blyth