Robert Chipman
Welcome to this column dedicated to my appreciation of physical media supplements called Feature Presentations. The goal of this column is not to determine whether a film is good or bad and worth picking up or not—I would like to highlight the discs that go the extra mile and provide film fans with enough tasty tidbits to satisfy even the most discerning of cinephiles. Today’s article will focus on The Last Seduction from Imprint Films.
Regardless of how the trajectories of the talent in front and behind the camera panned out, one thing cannot be denied: they crafted one hell of a neo-noir. On the run from her less-than-ideal husband (Bill Pullman), Bridget (Linda Fiorentino) finds herself in the small town of Beston. Beginning a relationship with nice guy, Mike (Peter Berg), she begins setting up her life anew and instituting a complicated scheme that pulls Mike into Bridget’s web of deceit and murder.
All of the ingredients are there for a terrific ‘90s neo-noir, and those involved with The Last Seduction hit it out of the park. Filled with top-notch performances, tightly-wound plotting, and sure-handed direction, this underrated gem is primed for reevaluation. And what better way to breathe new life into this somewhat-forgotten slice of cinema than with one of the finest physical media releases of 2026!
Imprint Films is a boutique label I have praised over the years, and this may be their most impressive set yet for a solo film. What you have is a four-disc release containing three versions of The Last Seduction spread throughout: the theatrical release, a black-and-white “noir” version, both lovingly transferred onto 4K UHD and Blu-ray, plus the extended cut, also on Blu-ray.
Before diving into the discs, this edition is housed in a sturdy cardboard case with a pop-top lid. Inside, you get two disc cases, each holding two discs, and the hardback book. Each case has different art, one for the colored version, and the other signifying the noir version. Imprint Films has used this design over the years for other releases, and it is a fantastic way to present their releases.
While having these versions is plenty enough, Imprint Films didn’t stop there, porting over previous bonus materials plus additional, newly-created extras for this ultimate edition.
Kicking things off, we get a previously-released audio commentary with John Dahl, moderated by Nathaniel Thompson. Both men have a friendly rapport with each other that allows for the discussion to flow naturally and comfortably. The director discusses the film’s fumbled theatrical release, plenty of behind-the-scenes anecdotes, working with the small but talented cast, and his career afterward. While the commentary loses a bit of steam before the end credits roll, this is still a fantastic direction and a wonderful listen.
Next up is a 21-minute interview with director John Dahl. The director runs through his early career, meeting actor Bill Pullman, who taught him in college, setting up production on The Last Seduction, how artist Edward Hopper helped influence the look of the film, and the status the film gained over time. A lot of what Dahl talks about here is found in the commentary, but he’s still an engaging presence, and this interview is certainly worth checking out.
“The Demolished Man” is a 2025 interview conducted with actor Peter Berg. During this 15-minute interview, Berg launches into how he faked and lied his way to becoming a prop person on a feature film. Through this work, he eventually got in contact with John Dahl and won the part of the co-lead, Mike. The actor is very open and honest during his discussion as he details early vulnerabilities with his emotions and being intimidated by the work of Linda Fiorentino. “The Demolished Man” is a highlight of this release and a wonderful interview.
Next up, “The Good Doctor,” is a 15-minute interview with actor Bill Pullman. The actor discusses his early acting career as a part of a Montana touring Shakespeare company, which led to him teaching in Billings and his first meeting with John Dahl. He then traces his career trajectory as an actor working on stage in New York before making the transition to TV and film in Los Angeles. Pullman has positive words for Dahl, calling him the “Gary Cooper of independent film,” and is very appreciative of his time working on The Last Seduction. As a fan of the film and Bill Pullman, “The Good Doctor” was a must-listen and worth every second.
“Seductive Rhythms” is a ten-minute interview with editor Eric Beason. Beason first discusses how editor Dede Allen was his entry point into editing and credits her with being his mentor. He then transitions into his meeting with John Dahl and working with other projects before The Last Seduction. This is a fairly brief and low-key interview, but Beason does offer some insight into the editing process of the film.
The last interview, “Hard Light and Soft Shadows,” is a 16-minute interview with cinematographer Jeffrey Lur. Lur spends a majority of the time discussing how he used film noir of the ‘40s and updated it to the ‘90s with The Last Seduction. He talks about the film using “poor-man’s process ” regarding lighting of the driving scenes, the director’s preferences for how the shots were to be lit, and gives a peek into how he accomplished making the film look as stylish as it does. Lur is more measured in his speaking, but provides an engaging and interesting interview.
“The Art of Seduction” is an archival 30-minute featurette featuring interview pieces with John Dahl, Steve Barancik, Linda Fiorentino, Bill Pullman, and Peter Berg. Each interviewee discusses their work on the film, with Dahl and Barancik providing the bulk of the behind-the-scenes information. A lot of what is discussed in “The Art of Seduction” can be found elsewhere in the packaging, but it is an essential watch as this is the only supplemental feature with Steve Barancik, who provides plenty of information on the genesis of the film and his thoughts about the final product.
Next up is eight-plus minutes of raw behind-the-scenes footage from four separate scenes. There isn’t a lot to be discussed, but fans of filmmaking fly-on-the-wall footage, such as myself, found this a fascinating look at the movie-making process.
You next get a two-minute montage image gallery, accompanied by the film’s score, featuring marketing materials and images from the finished film.
Also included are a collection of deleted scenes and an alternate ending with optional audio commentary with John Dahl. Most of what is found here, including the alternate ending, was rightly discarded. The deleted material, as stated multiple times by the director, is either fluff or slightly unwinds what is already a tightly-wound narrative. The alternate ending poses an interesting final twist, but it gets a little too smart for its own good, and the final film is better off without it.
To the more intriguing aspect of this release, Imprint Films includes a “noir version” of the theatrical release, graded in black-and-white in 4K. After watching both versions of the film, I can confidently say that the noir version will be my preferred go-to. As I watched the colored version of The Last Seduction, I was surprised at how funny the film played, and not as noir-ish as I expected. Watching the film in luscious black and white, the neo-noir aspects popped off the screen, and it was like watching a completely different movie. Watching The Last Seduction in 4K black-and-white was breathtaking and cements this release as one of the finest of 2026.
We’re not done yet! The last feature is no slouch as Imprint Films includes the extended edition on a separate Blu-ray disc. This version incorporates the deleted material back into the film’s proper order and includes comments from John Dahl.
Finally, the collection is rounded out with a hardcover book that includes production notes, shots from the film, and an essay by Travis Woods. The essay is decent, discussing the erotic elements of the film and how they intertwine with the noir story of The Last Seduction. I do wish there were more writing in the book, but it’s a minor quibble over such a stellar release.
And there you have it! For those seeking a twisted neo-noir with a twinge of dark humor, The Last Seduction is a film right up your alley. And Imprint Films storms the physical media battlefield with a stacked and loaded release that is sure to find its way onto year-end best physical media releases lists.
