Psychiatric Interview Series—Patient No. 1: Evaluation for Diagnosis

A comic, biting and revelatory documentary following a small group of prankster activists as they gain worldwide notoriety for impersonating the World Trade Organization (WTO) on television and at business conferences around the world.

A look at Depeche Mode's final moments of their 2017 Global Spirit Tour, featuring intimate stories from select fans.

In a brand-new documentary, the actress who portrayed the unforgettable Émilie Bordeleau revisits her memories of filming and analyzes the cultural legacy of this cult saga. By exploring the timeless power of its characters, she testifies to the major impact this work has had on the collective imagination and on the history of Québec television.

Dr. Steven Greer presents brand new top-secret evidence supporting extraterrestrial contact, including witness testimony, classified documents, and UFO footage, while also exploring the consequences of ruthlessly enforcing such secrecy.

In this film, Laerte conjugates the body in the feminine, and scrutinizes concepts and prejudices. Not in search of an identity, but in search of un-identities. Laerte creates and sends creatures to face reality in the fictional world of comic strips as a vanguard of the self. And, on the streets, the one who becomes the fiction of a real character. Laerte, of all the bodies, and of none, complicates all binaries. In following Laerte, this documentary chooses to clothe the nudity beyond the skin we inhabit.

Evangelist Bob Larson sits down with Zeena and Nickolas and tries to talk some good old fashioned religion into 'em, but they'll have none of it.

The Los Angeles punk music scene circa 1980 is the focus of this film. With Alice Bag Band, Black Flag, Catholic Discipline, Circle Jerks, Fear, Germs, and X.

Paul Fierlinger's unique animation captures five individuals from diverse backgrounds as they describe their bouts with loneliness, its challenges and benefits.

In his film "Far From Heaven", Todd Haynes refers very respectfully to Douglas Sirk's "All that Heaven Allows". Fassbinder was also strongly influenced by Sirk's work. Haynes now explains this double fascination.