Punk: Attitude (2005)

パットがボーカルを務めるバンドは、車のガソリン代にも事欠く、売れないパンクバンド。彼らが極貧ツアーの中、ようやく出演することができたライブハウスは、なんとネオナチの根城だった。パットとバンドメンバーは、そこで殺人の現場を目撃してしまい、ネオナチ軍団から命を狙われる事態となってしまう。圧倒的に不利な状況で、グリーンルーム（英語で「楽屋」の意味）に閉じこもったパットたちは、アイデアと反骨精神を武器に極悪非道なネオナチ軍団に立ち向かう。

Instrument is a documentary film directed by Jem Cohen about the band Fugazi. Cohen's relationship with band member Ian MacKaye extends back to the 1970s when the two met in high school in Washington, D.C.. The film takes its title from the Fugazi song of the same name, from their 1993 album, In on the Kill Taker. Editing of the film was done by both Cohen and the members of the band over the course of five years. It was shot from 1987 through 1998 on super 8, 16mm and video and is composed mainly of footage of concerts, interviews with the band members, practices, tours and time spent in the studio recording their 1995 album, Red Medicine. The film also includes portraits of fans as well as interviews with them at various Fugazi shows around the United States throughout the years.

An archive celebration of studio performances from the British bands that broke through courtesy of punk between 1975 and 1982. Starting with Dr Feelgood and Eddie and the Hot Rods and culminating in Gang of Four, with performances from Top of the Pops, The Old Grey Whistle Test, Something Else and other shows by The Sex Pistols, The Clash, The Buzzcocks, The Damned, Joy Division, Siouxsie and the Banshees and many more. Hey ho, let's go!

In 2007, 11 years after one of the most influential American punk bands, Jawbreaker, called it quits, the three members, Blake Schwarzenbach, Chris Bauermeister, and Adam Pfahler reconnect in a San Francisco recording studio to listen back to their albums, reminisce and even perform together one last time. Follow the band as they retell their "rags to riches to rags" story writhe with inner band turmoil, health issues, and the aftermath of signing to a major label. Featuring interviews with Billy Joe Armstrong, Steve Albini, Jessica Hopper, Graham Elliot, Chris Shifflet, Josh Caterer and more.

Before Bad Brains, the Sex Pistols or even the Ramones, there was Death. Formed in the early '70s by three teenage brothers from Detroit, Death is credited as being the first black punk band, and the Hackney brothers, David, Bobby, and Dannis, are now considered pioneers in their field. But it wasn’t until recently — when a dusty 1974 demo tape made its way out of Bobby’s attic nearly 30 years after Death’s heyday — that anyone outside a small group of punk enthusiasts had even heard of them.

No other band in rock'n'roll history has rivaled The Stooges' combination of heavy primal throb, spiked psychedelia, blues-a-billy grind, complete with succinct angst-ridden lyrics, and a snarling, preening leopard of a frontman who somehow embodies Nijinsky, Bruce Lee, Harpo Marx, and Arthur Rimbaud all rolled into one. There is no precedent for The Stooges, while those inspired by them are now legion. The film will present the context of their emergence musically, culturally, politically, historically, and relate their adventures and misadventures while charting their inspirations and the reasons behind their initial commercial challenges, as well as their long-lasting legacy.

What happens when a generation's ultimate anti-authoritarians — punk rockers — become society's ultimate authorities — dad's? With a large chorus of Punk Rock's leading men — Blink-182's Mark Hoppus, Red Hot Chili Peppers' Flea, Rise Against's Tim McIlrath — The Other F Word follows Jim Lindberg, 20-year veteran of skate punk band, Pennywise, on his hysterical and moving journey from belting his band's anthem, 'Fuck Authority', to embracing his ultimately pivotal authoritarian role in mid-life, fatherhood.

When a radio falls from the sky into the hands of a wide-eyed Tibetan Mastiff, he leaves home to fulfill his dream of becoming a musician, setting into motion a series of completely unexpected events.

Los Angeles teenager Ritchie Valens becomes an overnight rock 'n' roll success in 1958, thanks to a love ballad called "Donna" that he wrote for his girlfriend. But as his star rises, Valens has conflicts with his jealous brother, Bob, and becomes haunted by a recurring nightmare of a plane crash just as he begins his first national tour alongside Buddy Holly.

「セイ・エニシング」「ザ・エージェント」のキャメロン・クロウ監督が自身の体験を基に、ブレイク寸前のロックバンドのツアーの同行取材を任された15歳の少年の姿を描いた青春音楽ムービー。15歳の少年ウィリアムは伝説的なロック・ライターに自分の記事が気に入られ、ローリングストーン誌の仕事をもらう。さっそく取材で楽屋を訪れた彼は、グルーピーの中にいたペニー・レインに一目惚れする。

A prim and proper schoolgirl goes against her grandmother's wishes when she dates a motorcycle-riding juvenile delinquent.

バンドをクビにされ、ルームメイトのネッドからも追い出されたデューイは名門小学校で代用教員をしているネッドになりすましバイト感覚で学校へ行くが……。＜ミュージシャンでもあるジャック・ブラックが破天荒なロッカー教師を演じるコメディータッチの人間ドラマ。名門小学校にそぐわないニセ教師と小学生たちがロックを通じて交流を深める、笑いと風刺、感動、そして涙ありの作品。監督に「オースティン映画批評家協会」の設立者であるリチャード・リンクレイター。脚本は本作で友人役を演じるマイク・ホワイト。実際に楽器を演奏している子役たちの演奏の巧さもにも注目。＞

英国の作家、ニック・ホーンビィの同名ベストセラー小説に惚れ込んだジョン・キューザックの情熱から生まれた意欲作。自ら製作・脚本・音楽監修を担当している。キャスティングも豪華そのもの。

Brought together by their shared love of music, ten years on Liam and Natalie are at breaking point. In their case opposites attract but don't necessarily work long-term. Making the difficult decision to separate, they must split their prized music library. But the soundtrack that defined their relationship keeps pulling them back together.

雪に閉ざされた北極の地で、マットはロンドンで出会ったアメリカ人学生のリサのことを想っていた。ブラック・レーベル・モーターサイクルのライブで出会った2人は恋に落ち、何度も身体を重ね合わせていた。

Bullet in a Bible documents one of the two biggest shows that Green Day have performed in their career. They played in front of a crowd of over 130,000 people at the Milton Keynes National Bowl in United Kingdom on June 18–19, 2005. The band was supported by Jimmy Eat World, Taking Back Sunday, and Hard-Fi during their American Idiot world tour. Fourteen of the twenty songs performed at these shows were included on the disc; missing out "Jaded", "Knowledge", "She", "Maria", "Homecoming" and "We Are The Champions". Bullet in a Bible was released as a double-LP set on November 10, 2009, as part of the band's 2009 vinyl re-release campaign.

A look at New York's dynamic punk rock scene through the lens of the ground-breaking Lower East Side club started by eccentric Hilly Kristal in 1973 which launched thousands of bands.

Two former geeks become 1980s punks, then party and go to concerts while deciding what to do with their lives.

ゾンビ映画の元祖「ナイト・オブ・ザ・リビング・デッド／ゾンビの誕生」で描かれた事が実際にあったという前提で作られた間接的な続編。ロスにある科学資料庫の地下で発見された謎のタンク。そこから吹き出した特殊なガスには死者を蘇らせる作用があった……。

The star of a team of teenage crime fighters falls for the alluring villainess she must bring to justice.

Encounter Point is an 85-minute feature documentary film that follows a former Israeli settler, a Palestinian ex-prisoner, a bereaved Israeli mother and a wounded Palestinian bereaved brother who risk their lives and public standing to promote a nonviolent end to the conflict. Their journeys lead them to the unlikeliest places to confront hatred within their communities.

David is a young man seduced by a religious cult that uses starvation, exhaustion, and brainwashing to mold recruits into money hustling disciples of a messiah-like leader. Chronicles David's chilling transformation into a gaunt, mindless shadow of his former self...and his ultimate salvation when friends and family launch a plan to kidnap and deprogram him.

The three-decade-old annual Manhattan gathering of drag queens and their fans is portrayed in this colorful documentary. The film concentrates on the spectacle of the event, providing abundant examples of the elaborate costumes, flamboyant wigs, and campy musical performances that characterize the event.

Reclusive Rubin Farr teams up with vocal but unsuccessful multi-level salesman Ed Tuttle on a quest to bury Rubin's dead cat in the "perfect spot." Their trip takes them across Utah's desert where they have run-ins with Ed's ex-wife Rula and an elusive Andy Warhol critic.

Sinbad brings the '70s back with a nostalgic stand-up special dedicated to the films, fashion and other flashbacks from that era.

Taking place around the German reunification of 1990, a group of East Germans cross the border to visit West Germany and get slaughtered by a psychopathic cannibal family who want to turn them into sausages.

Documentary on the London punk-rock scene, circa '78

Ross McElwee travels through the North Carolina tobacco belt in search of the ancient southern traditions associated with tobacco growing and use, while comparing his filmmaking to commercial cinema, represented by Bright Leaf, a melodrama directed by Michael Curtiz in 1950, starring Gary Cooper, apparently based on the life of his great-grandfather.

For the past 40 years, Jan Svankmajer (Faust, Conspirators of Pleasure) has been hailed as one of cinema's most consistently surprising, wildly imaginative, and remarkable surrealists of our time. Utilizing a delirious combination of puppets, humans, stop-motion animation, and live action, Svankmajer's films conjure up a dreamlike universe that is at once dark, macabre, witty, and perversely visceral. KimStim (and Kino) is proud to to offer this collection of remarkable short works from an artist that has mesmerized audiences the world over and has inspired filmmakers from the Brothers Quay to Tim Burton and Terry Gilliam.

Filmed in IMAX, a young Mayan boy who lives close to the ruins becomes acquainted with an archaeologist (Guerra) and asks her to tell him about his ancestors. The crew travelled to over 15 locations in Mexico and Guatemala, including Tulum and Chichén Itzá.

A very informative documentary on the making of Peter Jackson's gore classic Bad Taste. Highlights include behind-the-scenes footage, detailed explanations of the special effects, an interview with Peter's mom and dad, and interviews with the cast and crew.

A beautiful, intelligent and flirtatious young girl, Yonta, is secretly in love with a friend of her parents, Vicente, a hero of the war of independence. Vicente is unaware of her passion as she is of the love of a young man who sends her anonymous love letters.

“Our modern technology has achieved a degree of sophistication beyond our wildest dreams. But this technology has exacted a pretty heavy price. We live in an age of anxiety, a time of stress. And with all our sophistication we are in fact, the victims of our own technological strength. We are the victims of shock … of future shock.” No, this isn’t a quote from a Huffington Post column on the Facebookization of modern communication. Nor is it pulled from an academic treatise on the phenomenologies of post-industrial existence. This statement was made by Orson Welles in the 1972 futurist documentary Future Shock, and, unlike some of the more dated elements of 1970s educational films, Future Shock remains shockingly current in verbalizing the concerns and anxieties that come along with rapid societal and technological change. (Indiana University Libraries Moving Image Archive)

Filmmaker Ralph Arlyck first met Sean while living as a graduate student in Haight Ashbury at the height of the 1960s. The city was awash with the trappings of America’s cultural revolution-the San Francisco State University campus flooded with cops in riot gear, the Haight filled with drifters and idealists, and, on the third floor of Arlyck’s building, a come-one-come-all crashpad apartment. It was from this top floor commune that the precocious 4-year-old Sean would occasionally wander downstairs to visit and talk-and one day Arlyck turned on his camera. Sean’s casual commentary on everything from smoking pot to living with speed freaks was delivered in simple sincerity throughout the soon-to-be famous 15-minute film. This First Child of the notorious decade may have shaken the audience with his simple sentence- “Sure, I smoke pot”-but it was his barefoot impishness which would encapsulate the hope that lay in front of the nation: a promise of infinite possibility.

Low-budget film about a lingerie model who keeps getting hooked up with the wrong guy.

On Christmas Eve, a West suburb of Paris. Stéphane, Joëlle, Xavier and Sonia (25 years old) decide to take a stroll down the big park overhanging the city of their youth, musing on pop music, their work, sex and their disappointed ambitions.

Ross, who lives with his eccentric Uncle Cullen, is desperately trying to become a successful businessman. When he attempts to sell the family wine collection to finance a new venture, his uncle hatches a plan to remind Ross of the talent he left behind.

The making of an unfinished film about phobias. Says the director. Behind the screens, he discusses at length (with e.g. Coffin Joe) about the aesthetic boundaries of the project: volunteers under controlled circumstances become immersed in their phobias in order to film the fear on their faces.

Milton, a disappointed romantic, has sworn off women. He gives a lift to a female hitchhiker, whom he happily discovers is also a hurt soul and has sworn off men. Their trip together runs into interference from an aggressive driver who later reappears after the two have set up camp. He starts putting the moves on the woman, but when Milton's ex-girlfriend shows up, she gets into a fight with the interloper and gives Milton and his new pal the chance to slip away.

How does artist Matthew Barney use 45,000 pounds of petroleum jelly, a factory whaling vessel and traditional Japanese rituals to create his latest art project? Barney plowed the waters off the coast of Nagasaki to film his massive endeavor, Drawing Restraint 9. The documentary Matthew Barney: No Restraint journeys to Japan with Barney and his collaborator Bjork, as the visual artist creates a "narrative sculpture" telling a fantastical love story of two characters that transform from land mammals into whales.