I don't know how accurate it is, but it's hysterical...and Ironic that we can't use the title in our reviews. But, it does have more humor than substance in it, the theories about how the word evolved and what it meant are mostly all stated and explained along with a brief etymology of the word itself and some of the myths around it...but doesn't really come to a solid conclusion. And the inclusion and dedication to Hunter S. Thompson is well received given his love of the word and how beautifully vulgar his writings could be. It was a fitting final interview for him. Ultimately, though, watch it for the humor. I'd take the "documentary" part with a grain of salt. In either case it will entertain.
Arguably Russia’s most famous folk song, Dark Eyes has captured hearts around the world for the past 100 years. This portrait explores the song’s somewhat controversial history, its musical versatility and its cultural relevance. Performances by Louis Armstrong, Frank Sinatra, Liberace, a 13-piece orchestra and a Russian folk group make it clear why Dark Eyes has stood the test of time.
After the Indian Ocean Tsunami of 2004, widowed women struggled to receive aid due to their social status. Following the story of Mrs. Manjula along with many other women from Tamil Nadu, the challenges faced by millions of widows across the country are illuminated. From being ostracized to denied basic rights and economic opportunities, widows in India endure a cycle of discrimination and marginalization. “Kalangarai” meaning "lighthouse" in Tamil, is an organization dedicated to empowering women through initiatives such as self-help groups and educational programs. Throughout the film, "Lighthouse" illustrates the emotional journeys and resilience of these women, as well as the active change that Kalangarai strives to achieve. This documentary urges global awareness and support for widowed women’s rights, as the women’s struggles depict the intersectionality of gender, poverty, and social injustice.
Festival panafricain d'Alger is a documentary by William Klein of the music and dance festival held 40 years ago in the streets and in venues all across Algiers. Klein follows the preparations, the rehearsals, the concerts… He blends images of interviews made to writers and advocates of the freedom movements with stock images, thus allowing him to touch on such matters as colonialism, neocolonialism, colonial exploitation, the struggles and battles of the revolutionary movements for Independence.
A chronicle of Cyndi Lauper's meteoric ascent to stardom and her profound impact on generations through her music, ever-evolving punk style, unwavering feminism and tireless advocacy. This documentary takes the audience on an engaging exploration of a renowned and pioneering artist who has left a remarkable legacy with her art.
The Halari Oshwals are a small community dispersed around the world yet held together by a history of sacrifices. But times have changed. This globalization has led to many problems within the community, and their numbers are dwindling. An Oshwal woman from Canada worries about the preservation and survival of her heritage in the hands of generations to come. She sets out on a pilgrimage to visit Oshwal communities in Kenya, where she was born; the UK, where she lived for a while; and India, where her parents originated. She discovers a shared concern for the future of the community and its traditions in the face of globalization and geographical disconnect, and explores what this means for the younger generation and their Oshwal identity.
In 2019, Hong Kong was swept by demonstrations against the controversial extradition bill. At the Polytechnic University, a group of students also takes a stand for freedom and democracy. Negotiations with the police are chaotic and aggressive, conducted via megaphones and politically charged music played over loudspeakers. The colorful umbrellas which the young people use to protect themselves against the brutal police actions emphasize the group’s bravado, which borders on recklessness. What begins as an energetic battle against the establishment turns into a lopsided game of cat and mouse when the police decide to surround the building. Within its red brick walls, the university building becomes a prison. Over the nearly two weeks that follow, as fear and exhaustion grow among the hundreds of students, so does the uncertainty. Should they hang on inside, or leave the building to face the armed police?
After the impressive Gulistan, Land of Roses (VdR 2016), the Kurdish filmmaker Zaynê Akyol returns with these conversations with imprisoned members of the Islamic State, alternating their words with aerial views of the countryside. An unexpected look at a far-reaching current political issue and a film whose subject matter and rhythm create an impressive cinematic object.
In the spring of 1970, between the African Orestiade and The Decameron, Pasolini shot a film for which he wrote a commentary in verses but never finished editing. The film was born as a typical Pasolini intervention: filming the strike of the garbage collectors in Rome, who at the time worked in dramatic health conditions, and filming the humility of their daily work, amidst the waste and scraps of society, in the squares and in the streets. Pasolini also filmed the faces of garbage collectors engaged in claims discussions and the result was an extraordinary anthropological picture of an unknown humanity.
A porn-loving, Charles Manson-befriending, Mississippi Republican runs to become the next sheriff.