World War II was not just the most destructive conflict in humanity, it was also the greatest theft in history: lives, families, communities, property, culture and heritage were all stolen. The story of Nazi Germany's plundering of Europe's great works of art during World War II and Allied efforts to minimize the damage.
In 1968, Elsa and Richard Marley founded an alternative-living community, named Black Bear, in the remote Northern California wilderness with the motto "Free Land for Free People." This film tells the story of that intended utopia. Through archival footage and interviews with former residents, director Jonathan Berman explores the problems and realities of communal living and the evolution of a community that endured FBI harassment, cult leadership and more.
A coming-of-(old)-age story about Peter Anton, an elderly "outsider" artist living in isolated and crippling conditions whose world changes when two filmmakers discover his work and storied past. Shot over eight years, ALMOST THERE documents Anton's first major exhibition and how the controversy it generates forces him to leave his childhood home. Each layer revealed reflects on the intersections of social norms, elder care, and artistic expression.
Wu-Tang Saga is the story of the music super group the Wu-Tang Clan told by Cappadonna, chronicling over 9 concerts, a trip to Shaolin aka Staten Island, photoshoots, and the 5 percent philosophies. There's also many exclusive hip hop freestyles, as Cappadonna takes you inside the music business first hand. The first Wu-tang documentary to be entirely narrated by a Wu-Tang member, this is truly an epic Wu-Tang experience.
The Camden 28 explores how and why 28 individuals intentionally placed themselves at risk of arrest and imprisonment while protesting the war in Vietnam. Featuring a treasure of archival materials and current interviews with former FBI agents involved in the case and scholars such as Howard Zinn, The Camden 28 is a story about a potent form of dissent that has special relevance to our current political climate.
To a growing number of Mexicans and Latinos in the Americas, narco-traffickers have become iconic outlaws and the new models of fame and success. They represent a pathway out of the ghetto, nurturing a new American dream fueled by the war on drugs. Narco Cultura looks at this explosive phenomenon from within, exposing cycles of addiction to money, drugs, and violence that are rapidly gaining strength on both sides of the U.S.-Mexico border
Kraftwerk's vision of a keyboard-driven world of clicking metronomic rhythms and digitised sound bites may have been the stuff of avant fantasy in the 1970s (the decade that saw the band's first groundbreaking albums), but it is a reality in the new millennium. Their visionary style is explored in KRAFTWERK AND THE ELECTRONIC REVOLUTION, a study of the group, their career and their emergence as the most influential electronic band in the world.
This program profiles writers of the 20s, 30s, and 40s--known as the Pulp Fiction era. These writers created the iconic movies and characters who live on today in our collective hearts and imaginations. It has even been estimated that 90-95% of the top blockbusters in Hollywood movies were based on stories from the Pulp Fiction era.
In Uganda, a new bill threatens to make homosexuality punishable by death. David Kato - Uganda's first openly gay man - and his fellow activists work against the clock to defeat the legislation while combating vicious persecution in their daily lives. But no one, not even the filmmakers, is prepared for the brutal murder that shakes the movement to its core and sends shock waves around the world.
Under the sun, the heavenly beauty of grasslands will soon be covered by the raging dust of mines. Facing the ashes and noises caused by heavy mining , the herdsmen have no choice but to leave as the meadow areas dwindle. In the moonlight, iron mines are brightly lit throughout the night. Workers who operate the drilling machines must stay awake. The fight is tortuous, against the machine and against themselves. Meanwhile, coal miners are busy filling trucks with coals. Wearing a coal-dust mask, they become ghostlike creatures. An endless line of trucks will transport all the coals and iron ores to the iron works. There traps another crowd of souls, being baked in hell. In the hospital, time hangs heavy on miners' hands. After decades of breathing coal dust, death is just around the corner. They are living the reality of purgatory, but there will be no paradise.
More people are imprisoned in the United States at this moment than in any other time or place in history, yet the prison itself has never felt further away or more out of sight. This is a film about the prison in which we never see an actual penitentiary. The film unfolds a cinematic journey through a series of landscapes across the USA where prisons do work and affect lives, from an anti-sex-offender pocket park in Los Angeles, to a congregation of ex-incarcerated chess players shut out of the formal labor market, to an Appalachian coal town betting its future on the promise of prison jobs.
During World War II, the United States Army hired Lynne Sachs’ cousin, Sandor Lenard, to reconstruct the bones, small and large, of dead American soldiers. This short anti-war cine-poem is composed of highly abstracted battle imagery and children at a birthday party.
Filmmaker Angelo Madsen Minax returns to his rural Michigan hometown following the death of his infant niece and the subsequent arrest of his brother-in-law as the culprit. Using the audio-visual approaches of essay film, first-person cinema vérité, staged actions, and decades of home movies, Madsen navigates a town steeped in opioid addiction, economic depression, and religious fervor, while using the act of filmmaking to rebuild familial bonds and reimagine justice. Posing empathy as a tool for creating a more just world, North By Current does not seek to investigate a crime, but creates a relentless portrait of an enduring pastoral family, poised to reframe and reimagine narratives about incarceration, addiction, trans embodiment, and ruralness.
Immigrant residents of a “shift-bed” apartment in the heart of New York City’s Chinatown share their stories of personal and political upheaval. As the bed transforms into a stage, the film reveals the collective history of the Chinese in the United States through conversations, autobiographical monologues, and theatrical movement pieces. Shot in the kitchens, bedrooms, wedding halls, cafés, and mahjong parlors of Chinatown, this provocative hybrid documentary addresses issues of privacy, intimacy, and urban life.
"Salad Days: A Decade of Punk in Washington, DC (1980-90)" examines the early DIY punk scene in the Nation's Capital. It was a decade when seminal bands like Bad Brains, Minor Threat, Government Issue, Scream, Void, Faith, Rites of Spring, Marginal Man, Fugazi, and others released their own records and booked their own shows-without major record label constraints or mainstream media scrutiny. Contextually, it was a cultural watershed that predated the alternative music explosion of the 1990s (and the industry's subsequent implosion). Thirty years later, DC's original DIY punk spirit serves as a reminder of the hopefulness of youth, the power of community and the strength of conviction.
The son of a junkie aristocrat and a schizophrenic showgirl becomes a master of reinvention on a 50+ year journey through rock and roll, TV, and movies.
THE LAST HAPPY DAY is an experimental documentary portrait of Sandor (Alexander) Lenard, a Hungarian medical doctor and a distant cousin of filmmaker Lynne Sachs. In 1938 Lenard, a writer with a Jewish background, fled the Nazis to a safe haven in Rome. Shortly thereafter, the U.S. Army Graves Registration Service hired Lenard to reconstruct the bones, small and large, of dead American soldiers. Eventually he found himself in remotest Brazil where he embarked on the translation of “Winnie the Pooh” into Latin, an eccentric task that catapulted him to brief world-wide fame. Sachs’ essay film uses personal letters, abstracted war imagery, home movies, interviews and a children’s performance to create an intimate meditation on the destructive power of war.