Documentary

An hour-long documentary designed to celebrate the spirit of the independent filmmaker from D.W. Griffith to Quentin Tarantino. Interview footage and film clips are blended together to form a chronological approach to the subject matter.
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The complete video biography of rock’n’roll legend Buddy Holly, produced and hosted by Paul McCartney. This entertaining and enlightening show is the most definitive biography of Buddy Holly ever assembled, featuring interviews with members of The Crickets and many of Buddy Holly’s family and friends who knew him best. Includes rare performances and Paul McCartney performs several of Buddy Holly’s songs.
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The first in Patrick Keiller’s highly imaginative trilogy of psycho-geographic journeys charts a trip through (and history of) London, as undertaken by our unseen narrator (Paul Scofield) and his companion, Robinson.
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“Shasan valo, sun lo aaj – Hamare gaon mein hamaara raaj” (Listen to us, you who rule – our villages, we control). A boat carrying that cargo of defiance begins an urgent journey through the Narmada valley.
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Jamás leí a Onetti (I have never read Onetti) is a documentary-homage to this great Uruguayan writer, which is enacted with testimonies, words, drawings and music, all part of the Onettian legacy. With the link between different kinds of writing as a starting point, the movie also asks about the means and the ends of all creative process.
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This is a highlight package of Surrender Cinema’s best girl-on-girl scenes. The gorgeous Jacqueline Lovell goes on an erotic excursion into the very private lives of her closest friends in this sex film. It includes probably the hottest non-hardcore lesbian scene you’ll ever see between Jacqueline Lovell (aka Sara St James) and Vanessa Taylor.
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A documentary which focuses on Indie Horror Filmmakers from around the world and the perils we’re put through to bring your our films.
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A documentary concerning the violent Italian ‘poliziotteschi’ cinematic movement of the 1970s which, at first glance, seem to be rip-offs of American crime films like DIRTY HARRY or THE GODFATHER, but which really address Italian issues like the Sicilian Mafia and red terrorism. Perhaps even more interesting than the films themselves were the rushed methods of production (stars performing their own stunts, stealing shots, no live sound) and the bleed-over between real-life crime and movie crime.
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This is not a joke. Karlheinz Stockhausen dreamt of it and he did it. He wrote a score for a string quartet whose musicians (in this instance the Arditti Quartet) would each play in a helicopter, while their music would be mixed on the ground by Stockhausen and broadcasted in the concert hall. The helicopter rotors are naturally present.
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Documenting the work of one of the most groundbreaking and seductive composers of the Twentieth Century, this film also shows Luc Ferrari’s “extremely libertarian personality: his spontaneity, his inclination towards hedonism and sensuality, his curious and open character, his rejection of all kind of power and of all stable position within institutions, his pronounced taste for jeux, his sense of self-derision and his ferocious refusal of all dogmatism”.
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State of Mind is an eye-opener: In documenting the daily grind of 13-year-old Pak Hyon Sun and 11-year-old Kim Song Yun as they prepare for the yearly Games, Gordon reveals what it’s like to live in North Korea today.
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On the northwest side of Milwaukee, Mark Borchardt dreams the American dream: for him, it’s making movies. Using relatives, local theater talent, slacker friends, his Mastercard, and $3,000 from his Uncle Bill, Mark strives over three years to finish “Covan,” a short horror film.
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Thomsen presents previously unseen interview footage recorded with Fassbinder throughout their fifteen-year friendship, which spans exactly the length of his career – their first encounter was at the Berlinale in 1969 where Fassbinder’s debut was famously booed (you can hear the cries of “Awful!” and “Shame!” on the archive footage), and their last was just three weeks before his untimely death.
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A standard screen B&W prologue during which Lowell Thomas shows how, from the dawn of history, mankind has attempted to create the illusion of depth & movement by artistic, mechanical and photographic means.
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Documentary look at doomed male prostitutes in Prague, ages 15 to 18, who troll at the public swimming pool, the train station, a video arcade, and a disco. After the boys talk about how they got in the game, the camera follows them to the home of Pavel Rousek. Under the name Hans Miller, he makes gay porno videos, primarily for German distribution. Intercut with a movie shoot chez Rousek is an interview that follows him to his day job at a morgue, where he performs an autopsy as he talks about his work. The sex is without protection; the boys are without family. They talk about their bodies and souls, money, their sexual orientation, AIDS, their dreams, and death.
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