Manifesting the Mind: Footprints of the Shaman

I Ramones is a half-hour of concert footage captured in Rome in 1980, just after the release of the Phil Spector-produced album End of the Century. Shot on film, it laid forgotten in the vaults of an Italian television station for two decades after its one-time broadcast.

A documentary that explores the challenges that a life in music can bring.

Sylvia Kristel – Paris is a portrait of Sylvia Kristel , best known for her role in the 1970’s erotic cult classic Emmanuelle, as well as a film about the impossibility of memory in relation to biography. Between November 2000 and June 2002 Manon de Boer recorded the stories and memories of Kristel. At each recording session she asked her to speak about a city where Kristel has lived: Paris, Los Angeles, Brussels or Amsterdam; over the two years she spoke on several occasions about the same city. At first glance the collection of stories appears to make up a sort of biography, but over time it shows the impossibility of biography: the impossibility of ‘plotting’ somebody’s life as a coherent narrative.

The film consists mainly of interviews with readers of Freud in Brazil and several places in Europe, and touches on topics such as history, translation, culture, language and, especially, Freud himself.

The film was shot in an old, decrepit building where dozens of guest-workers' families live. The owner, a local influential politician, has avoided paying for the maintenance of the building under the legal standards by using his connections to proclaim the building a national cultural heritage. However, the rent he has been charging was as if the building were an object that offered standard comfort. The only German tenant takes the crew around and speaks of his battle against the landlord’s manipulation.

Fully authorized, access-all-areas feature doc on the hugely charismatic and globally adored Usain Bolt – officially the fastest man alive. With never-before-seen archive footage of his youth in Jamaica, through to original footage that will be captured at his fourth and final Olympic Games in Rio, where he will compete for the gold in both the 100 and 200 metres races, for a third straight Games before his retirement in 2017. I AM BOLT will reveal the man and define the legacy of this incredible athlete.

Arguing that advertising not only sells things, but also ideas about the world, media scholar Sut Jhally offers a blistering analysis of commercial culture's inability to let go of reactionary gender representations. Jhally's starting point is the breakthrough work of the late sociologist Erving Goffman, whose 1959 book The Presentation of the Self in Everyday Life prefigured the growing field of performance studies. Jhally applies Goffman's analysis of the body in print advertising to hundreds of print ads today, uncovering an astonishing pattern of regressive and destructive gender codes. By looking beyond advertising as a medium that simply sells products, and beyond analyses of gender that tend to focus on either biology or objectification, The Codes of Gender offers important insights into the social construction of masculinity and femininity, the relationship between gender and power, and the everyday performance of cultural norms.

Documentarians Andre Heller and Othmar Schmiderer turn their camera on 81-year-old Traudl Junge, who served as Adolf Hitler's secretary from 1942 to 1945, and allow her to speak about her experiences. Junge sheds light on life in the Third Reich and the days leading up to Hitler's death in the famed bunker, where Junge recorded Hitler's last will and testament. Her gripping account is nothing short of mesmerizing.

Academy Award winning make-up artist Rick Baker reflects on An American Werewolf In London and The Wolfman.

Some people grapple with the moral challenges of treating human beings decently. Others are just… assholes. Inspired by Aaron James’ New York Times bestseller of the same name, this documentary investigates the breeding grounds of contemporary ‘asshole culture’ — and locates signs of civility in an otherwise rude and nasty universe. Venturing into predominantly male domain, this film moves from Ivy League frat clubs to the bratty princedoms of Silicon Valley and the bear pits of international finance. Why do assholes thrive in certain environments? What explains their perverse appeal? And how do they keep getting elected?