The film is a study of Anton Szandor LaVey, leader of a cult of devil worshipers in San Francisco. He and his Church of Satan are shown performing a black mass, in which a nude woman serves as an altar and a boa constrictor wraps itself around a naked witch. Newsreel footage is included in which LaVey's neighbors are interviewed about the lion which he kept in his house until complaints resulted in the animal's removal to a zoo. The ideology of the Church of Satan is discussed--guilt rejection, sexual freedom, and self-indulgence.
FIGHTVILLE is about the art and sport of fighting: a microcosm of life, a physical manifestation of that other brutal contest called the American Dream...
A film about the Medical Intensive Care Unit at Boston's Beth Israel Hospital. The film is concerned with how people face death. More specifically the film presents the complex interrelationships among patients, families, doctors, nurses, hospital staff and religious advisors as they confront the personal, ethical, medical, psychological, religious and legal issues involved in making decisions about whether or not to give life-sustaining treatment to dying patients.
The director films the street where he lives in St. Petersburg, for a whole year, documenting the changes caused by the celebration of its 300th anniversary.
A Soviet documentary chronicling the Battle of Moscow (October 1941 – January 1942), when Red Army forces repelled the German advance on the capital. Shot by numerous frontline cameramen, it combines harrowing footage of combat and civilian suffering with scenes of Nazi atrocities, framed against themes of Russian heroism and cultural survival. Originally released under the title Defeat of the German Armies Near Moscow, the English-language version, narrated by Edward G. Robinson, was retitled Moscow Strikes Back. The film won the 1943 Academy Award for Best Documentary. Warning: contains graphic images.
Filmmaker Peter Mettler embarks on a mission that takes him around the world. He is determined to record the diverse modes of transcendence that people in different cultures adopt in order to live life to the fullest. As he traverses civilization and wilderness and encounters a range of lifestyles and ideas, the filmmaker's mind-expanding trip around the world grows into a poem of images and sounds, reflecting the fragmented but alluring worlds it attempts to capture.
The cast and crew of all four Psycho films recall their time working on the influential horror series, and modern masters of horror reminisce on what the movies stirred in them.
BELFAST, MAINE is a film about ordinary experience in a beautiful old New England port city. It is a portrait of daily life with particular emphasis on the work and the cultural life of the community. Among the activities shown in the film are the work of lobstermen, tug-boat operators, factory workers, shop owners, city counselors, doctors, judges, policemen, teachers, social workers, nurses and ministers. Cultural activities include choir rehearsal, dance class, music lessons and theatre production.
Contemporary film critics regard the epic film I Am Cuba as a modern masterpiece. The 1964 Cuban/Soviet coproduction marked a watershed moment of cultural collaboration between two nations. Yet the film never found a mass audience, languishing for decades until its reintroduction as a "classic" in the 1990s. Vicente Ferraz explores the strange history of this cinematic tour de force, and the deeper meaning for those who participated in its creation.
The Concert for New York City (2001) captures the star-studded benefit held at Madison Square Garden on October 20, 2001, honoring the city’s resilience and the heroism of first responders after 9/11. Attended by thousands of firefighters, police officers, and rescue workers, the concert features performances by Paul McCartney, The Who, Elton John, Billy Joel, and other music legends in a powerful tribute to unity, courage, and recovery.
A French documentary on how groups of youth in Paris generated a backlash against the NeoNazi skinhead subculture, and by doing so earned themselves the nickname Chasseurs de Skins or 'Skinhead Hunters'.
Combining unprecedented access to Davis' vast personal archives with original interviews, this documentary reveals a startling portrait of one of Hollywood's most gifted and enigmatic stars.