In 1985, former oil rig worker Richard Linklater began a film screening society in Austin, Texas, that aimed to show classic art-house and experimental films to a budding community of cinephiles. Eventually incorporating as a nonprofit, the newly branded Austin Film Society raised enough money to fly in their first out-of-town filmmaker: James Benning. Accepting the invitation, Benning met Linklater and the two began to develop a personal and intellectual bond, leading to many future encounters. Starting in the 1960s, Benning had been creating low budget films mostly on his own, while Linklater had just begun to craft his first shorts. The filmmakers have remained close even as their careers have diverged. After the cult success of Slacker, Linklater went on to make films with Hollywood support. Benning, meanwhile, has stayed close to his roots and is mainly an unknown figure in mainstream film culture.

Former Chief Official White House Photographer Pete Souza’s journey as a person with top secret clearance and total access to the President.

Curmudgeon. Contrarian. Misanthrope. Naysayer. For all the people interviewed in this film, someone has used one of the above words to describe them. What have they done to deserve such labels? Everywhere these men and women go, something is being celebrated; they don’t get what all the celebration is about and they’re compelled to question it.

This documentary follows the cast, crew and staff of the world-famous Public Theater as they prepare to mount an all-black adaptation of Shakespeare’s “Merry Wives,” at the open-air Delacorte Theater in New York City. Contending with the ever-present threat of COVID-19 and one of the rainiest Julys on record, the production marks the return of live theatre following more than a year of closures in the city.

In each U.S. state, stories of monsters living amongst us have been used to scare children and warn sinners away from misbehavior. But which of these bogeymen brings the biggest fright? In the two-hour Tubi special SCARIEST MONSTERS IN AMERICA, we’re counting down the top ten creatures in the country. From a horrifying home invader to a cunning cannibal, we’ll uncover evidence of each larger-than-life beast to determine, once and for all, which monster is the most deserving of state bragging rights.

The Color Of Noise The Color of Noise is a full length documentary about the Artist Haze XXL (Tom Hazelmyer) and his notorious record label, Amphetamine Reptile Records. Throughout the 80’s and 90’s the label would achieve almost cult like status for being adventurous and daring in the midst of a time where “safe” punk rock would rule the airwaves with a newly accepted style of music by the mainstream college goers, Grunge. Though with AmRep, not only a roster of the most outrageous performers would find a home, but also a legion of poster artists who broke all of the rules. Armed with a computer and an aesthetic of bold imagery, an artist would emerge in Hazelmyer. This is an American mid-west story about a man who created his own path, far from the norm and how he brought along with him countless others who would achieve greatness by sheer proximity and participation. This is the true American underground.

Documents the writing, recording and performing of Nick Cave & the Bad Seeds’ sixteenth studio album, Skeleton Tree.

Obsession is a film about the threat of Radical Islam to Western civilization. Using unique footage from Arab television, it reveals an ‘insider’s view’ of the hatred the Radicals are teaching, their incitement of global jihad, and their goal of world domination.

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Ram Dass is one of the most important cultural figures from the 1960s and 70s. A pyschedelic pioneer, author of Be Here Now, beloved spiritual teacher, and outspoken advocate for death-and-dying awareness, Ram Dass is now himself approaching the end of life. Since suffering a life-changing stroke twenty years ago, he has been living at his home on Maui and deepening his spiritual practice — which is centered on love and his idea of merging with his surroundings and all living things. Shot in a nuanced cinematic style, the film is an intimate summary of his life learning and awareness, and is ultimately a poetic meditation on life, death, and the soul’s journey home.

When Kenny Scharf arrived in NYC in the early 1980’s, he quickly met and befriended Keith Haring and Jean Michel Basquiat; There, amongst the fervent creative bustle of a depressed downtown scene the trio would soon change the way we think about art, the world, and ourselves. But unlike Haring and Basquiat, who both died tragically young, Kenny lived through cataclysmic shifts in the East Village as well as the ravages of AIDS and economic depression. ‘When Worlds Collide’ is about the art of fun, about living life out loud, despite setbacks, and about Kenny Scharf’s particular do-it- yourself, high-tone, technicolor artistic vision.

Two filmmakers infiltrate an underground bicycle club.