Self
Self
Self (archive footage)
Self
Self
Self
Self
Self
Self
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Self
Self
For several decades, gifted and incredibly prolific forger Mark Landis compulsively created impeccable copies of works by a variety of major artists, donating them to institutions across the country and landing pieces on many of their walls. ART AND CRAFT brings us into the cluttered and insular life of an unforgettable character just as he finds his foil in an equally obsessive art registrar.
Shut Up and Sing is a documentary about the country band from Texas called the Dixie Chicks and how one tiny comment against President Bush dropped their number one hit off the charts and caused fans to hate them, destroy their CD’s, and protest at their concerts. A film about freedom of speech gone out of control and the three girls lives that were forever changed by a small anti-Bush comment
The '40s and '50s were a classic period in New York City nightlife, when the saloonkeeper was king and regular folks could drink with celebrities like Frank Sinatra and Jackie Gleason. In this documentary, Kristi Jacobson profiles her grandfather, the king of kings: Toots Shor of the eponymous restaurant and saloon, which was once the place to be seen in Manhattan. Edward R. Murrow called Toots Shor the owner of America’s greatest saloon. He became the unlikely den-mother to the heroes of America's golden age. Politicians and gangsters, sports heroes and movie stars - Sinatra, Gleason, DiMaggio, Ruth, Costello, Eisenhower, Nixon, Warren - for 30 years, they all found their way to Toots' eponymous saloon on New York's West 51st Street.
Iverson is the ultimate legacy of NBA legend Allen Iverson, who rose from a childhood of crushing poverty in Hampton, Virginia, to become an 11-time NBA All-Star and universally recognized icon of his sport. Off the court, his audacious rejection of conservative NBA convention and unapologetic embrace of hip hop culture sent shockwaves throughout the league and influenced an entire generation. Told largely in Iverson's own words, the film charts the career highs and lows of one of the most distinctive and accomplished figures the sport of basketball has ever seen.
Acclaimed Montreal band Thee Silver Mt. Zion Memorial Orchestra is one of a growing number of rock groups to have accepted an infant into their touring tribe. Touring with children is both costly and complicated, yet SMZ are determined to combine family life and being on the road with the band's deep political commitment.
Carole Laganière dives deeply into personal territory in this beautifully crafted exploration of absence and loss and its painful effect on daily lives. Inspired by her mother’s steadily advancing Alzheimer’s and the inevitability of her estrangement, Laganière weaves their story with the stories of others wrestling with loss: Ines, an immigrant who returns to her birth country of Croatia to find the mother who abandoned her during the war; Deni, an American author who’s finally able to search for his Quebec roots; and Nathalie, who’s desperately looking for her missing sister. Through their experiences the film ponders how absence is often the catalyst for a quest—a quest for information, understanding and often acceptance. Through its many voices, Absences speaks to us of the immense fragility and resiliency of human emotions.
After a quarter-century of political denial and social stigma, of stunning scientific breakthroughs, bitter policy battles and inadequate prevention campaigns, HIV/AIDS continues to spread rapidly throughout much of the world. Through interviews with AIDS researchers, world leaders, activists, and patients, FRONTLINE investigates the science, politics, and human cost of this fateful disease and asks: What are the lessons of the past, and what can be done to stop AIDS?
Georgian director Otar Iosseliani prepares his film Jardins en Automne. Nothing is conventional in the filmmaker's system: Julie Bertuccelli portrays the gestation and production of a film that seems to follow the freest and most unpredictable poetic intuitions of its creator. The constant and hilarious arguments with the producer, Martine Marignac, a Michel Piccoli transformed into an old woman, and the director's peculiar filming system, in which he signals his actors to start with a whistle, paint a picture of one of the most unclassifiable cinematic experiences in contemporary cinema.
