La propia gente

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Click for full movie details & trailers.

Click for full movie details & trailers.

Click for full movie details & trailers.

Click for full movie details & trailers.

A documentary about climate change in Brazil, especially at Atafona Beach (in the Campos de Goytacazes region), which is being swallowed up by the sea. Narrated by Sonia Guajajara and Sidarta Ribeiro, the film deals with the genocide of the native people of Goytacazes.

Frequently after talking to another artist, Todd Anderson-Kunert found himself thinking of another question he would have liked to have asked them, but didn’t. This film is about what happened if he did ask those questions. Between 2014 and 2017, in and around Melbourne, Australia, he conversed with a selection of 31 sonic artists, each time for 30 minutes. These conversations were edited down, each time finding a new question he wished he had of asked. This question was used as the starting point for the next conversation with a completely different artist. This documentary film follows that process. The conversation engages with a variety of themes, including temporality, performance, fragility, recording, artistic development, and creative process. It also offers an insight into some of the experimental sound communities operating within Melbourne, Australia.

Filmed on location in Saskatchewan from the Qu'Appelle Valley to Hudson Bay, the documentary traces the filmmaker's quest for her Native foremothers in spite of the reluctance to speak about Native roots on the part of her relatives. The film articulates Métis women's experience with racism in both current and historical context, and examines the forces that pushed them into the shadows.

The YES line-up of Jon Anderson, Chris Squire, Trevor Rabin, Alan White and Tony Kaye perform highlights from their 1985 tour - "Introduction," "Cinema," "Leave It," "Hold On," "I've Seen All Good People," "Changes," "Owner of a Lonely Heart," "It Can Happen," "City of Love," and "Starship Trooper" in a landmark concert.

Samuel Grey Horse, an Indigenous equestrian from Austin, Texas, is known for rescuing horses from being put down. After a riding accident lands him in a coma, Grey Horse experiences an afterlife vision that changes his perspective on the world and his place in it.

In this era of "reconciliation", Indigenous land is still being taken at gunpoint. INVASION is a new film about the Unist'ot'en Camp, Gidimt'en checkpoint, and the Wet'suwet'en Nation standing up to the Canadian government and corporations who continue colonial violence against indigenous people.

A small town blanketed on the Midwest plains, Broken Arrow, Oklahoma has prospered despite dust bowls and oil busts that left many cities barren. Thriving on the town’s perseverance and pioneering spirit is the school’s marching band – The Pride of Broken Arrow. Despite their humble beginnings, the Broken Arrow band has become one of the nation’s dominating forces in the competitive world of marching band. This candid documentary reveals how these young musicians and their teachers come to understand the power of tradition, the depth of their character and the undeniable force of destiny that will push them towards the pinnacle of their season - Grand Nationals in Indianapolis, Indiana. The Pride of Broken Arrow is a refreshing and inspirational look into a quintessential American drama.

In the 1990s, alt-rock band Luxury is skyrocketing toward national fame until a life-threatening tour bus wreck shakes each band member to his core. Today, Luxury is led by three orthodox priests--and they're still rocking.

An intimate look into the life of composer Mikis Theodorakis from 1987 until 2017: comprising three decades, four continents, 100 locations and 600 hours of film material. The film interweaves personal moments with archive footage, documentary recordings and fictional pieces, all accompanied by Theodorakis’ music in jazz, classic, electro and rap versions.

Live show filmed during the Death Metal Massacre tour on February 16, 2000 at the Rave in Milwaukee, WI. One of the most extreme heavy metal bands ever, Cannibal Corpse acknowledge no boundaries of speed, power, or "good taste" in this full-on concert video. Cannibal Corpse: Live Cannibalism features interviews with the members of the band and their loyal fans in between numbers, in which they tear through a range of classic tunes.

Undisputed masters of black metal Cradle of Filth bring their extreme vision to the screen on this home-video release. Cradle of Filth: PanDaemonAeon features the group's first music video, for the song "From the Cradle to Enslave" presented in its original uncut version as well as a documentary on the making of the clip and the chaos that is Cradle of Filth's existence.

An overview of the early years--late 1970s, early 1980s--of San Francisco punk band Dead Kennedys, with clips from some of their live concerts and footage of landmark San Francisco locations of the punk music scene. Jello Biafra and The Dead Kennedys show why they're the kings of satire in 9 live early performances.

A 1-hour Documentary looking at the Manchester post-punk group and its infamous leader Mark E Smith. The Film follows the current band recording their final Session for the John Peel Show (they were his favourite group and recorded more sessions than any other band) as well as chronicling the chaotic history of the band & its numerous line-up changes.

Arguably second only to Muddy Waters among the Mississippi Delta singers who traveled north and pioneered urban electric blues (their supposed rivalry is the subject of one of this DVD's bonus features), Wolf was a big, imposing man with an inimitable, booming voice and a lasting influence on generations of rock & rollers--all of which comes across in the 90-minute film.

The band Fugazi is documented over a period of more than ten years (1987-1998) through performance footage and interviews with the band and their fans. Director Jem 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.