The sensational follow-up to “London in the Raw,” “Primitive London” sets out to reflect society’s decay through a sideshow spectacle of 1960s London depravity—and manages to outdo its predecessor. Here, we confront mods, rockers and beatniks at the Ace Café, cut some rug with obscure beat band The Zephyrs, smirk at flabby men in the sauna and goggle at sordid wife-swapping parties as we discover a pre-permissive Britain still trying to move on from the post-war depression of the 1950s.
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Music for Black Pigeons is the first collaboration between Jørgen Leth and Andreas Koefoed. The film poses existential questions to influential jazz players such as Bill Frisell, Lee Konitz, Midori Takada and many others: How does it feel to play, and what does it mean to listen? What is it like to be a human being and spending your whole life trying to express something through sounds? The characters wake up, rehearse, record, perform and talk about music. In some moments they are on the edge, the edge of existence, constantly challenging themselves. They listen. They devote themselves to finding a space to create a connection to something bigger than themselves. Something that will outlast all of us.
Television’s “King of Queens” reigns again in this Comedy Central special — the network’s first-ever hour-long show devoted entirely to one comic, taped live in July 2001 at New York City’s Hudson Theatre. James riffs on life’s many “royal” pains, including waiting in line with strangers, negotiating with the airport ticket counter clerk, underwear wedgies, boringly slow answering machine messages and more.
Raised in the Tennessee mountains, Wayne White started his career as a cartoonist in NYC. He quickly found success as one of the creators of the Pee-wee’s Playhouse TV show which soon led to more work designing some of the most arresting and iconic images in pop culture. Recently his word paintings featuring pithy and and often sarcastic text statements finely crafted onto vintage landscape paintings have made him a darling of the fine art world. The movie chronicles the vaulted highs and crushing lows of an artist struggling to find peace and balance between his professional work and his personal art. This is especially complicated for a man who struggles with the virtues he most often mocks in his art…Vanity, ego and fame.
‘Family Instinct’ is a film about incest – an illegal act, social taboo and a violation of religious norms. Zanda is a 28-year-old woman, worn out by hard work. Surrounded by poverty and despair, she is trying to survive with her two children in a god-forsaken Latvian village. Her hardships can be traced back to living in a relationship with her brother Valdis. When Valdis is put in jail, the local community forces her to make a difficult choice: to stay with him or with her children. Despite her ill fortune, she manages to express her love for the children, still hoping to save her family. The film offers a tragicomic but highly authentic insight into the bleak reality of Latvian countryside today.
The world set itandapos;s attention on Rio de Janeiro during the Summer 2016 Olympics, but with the cameras gone, locals have little faith that social and environmental conditions will improve.
White Diamond: A Personal Portrait of Kylie Minogue is a 2007 documentary film directed and produced by William Baker and chronicling the life of Australian singer Kylie Minogue during her Showgirl: The Greatest Hits Tour in 2005. White Diamond was filmed between August 2006 and March 2007 in both Australia and the United Kingdom and follows Australian pop singer-songwriter Kylie Minogue on concert tour before and during her resurrected Showgirl: The Homecoming Tour, originally abandoned halfway through its original 2005 run, in Sydney, when Minogue was diagnosed with breast cancer. Intended as a document of Minogue’s return to the stage following her treatment and recovery from cancer, the film also features on-stage and back-stage footage and interviews with a number of Minogue’s tour crew, including Baker himself.
We live at a moment in time when the Israeli-Palestinian conflict, now more than a century old, continues to be of overwhelming international political and societal importance. From its inception, that conflict has also, of course, had powerful and deeply troubling consequences for Israelis and Palestinians themselves. The story at its most basic level is one that involves two peoples struggling for national recognition and expression in a small but richly significant piece of land. The tragedy of this history, as both the Israeli novelist, Amos Oz, and the Palestinian scholar, Sari Nusseibeh, have each pointed out, stems from a conflict between the rights of two peoples with equal and legitimate aspirations to nationhood and self-expression in a single small territory to which they can both lay claim.
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