NOFX: Backstage Passport

A record company office worker named Kanna discovers a punk rock band called Shonen Meriken Sakku 'Brass Knuckle Boys' through the internet and subsequently decides to represent them on behalf of her company. What Kanna did not know was that the Brass Knuckle Boys consists of all middle aged men.

On the edge of the 30th anniversary of punk rock, Punk's Not Dead takes you into the sweaty underground clubs, backyard parties, recording studios, shopping malls and stadiums where punk rock music and culture continue to thrive.

Two girls with the same name but very different personalities share an apartment in this sequel to Nana. The rising fame of Nana Osaki's band, the Black Stones, is beginning to take a toll on the best friends' relationship. Meanwhile, Nana Komatsu struggles to make sense of her love triangle with Black Stones' guitarist Nobu and rival group Trapnest's bassist Takumi.

A rock band writes a song called "Fish Story" that is foretold to save the world. The song exceeds the boundaries of space and time and ties people and their stories together.

In 2012 two members of anarchistic female band Pussy Riot were sentenced to two years in a Mordovian labor camp for "hooliganism motivated by religious hatred". Russian film collective Gogol’s Wives follow each step of the feminist punk band’s battle against Putin including their first disruptive performances on a trolley bus, shooting a video about transparent elections, a controversial performance in a Red Square cathedral, and footage shot in a jail cell. Support comes from many corners including Madonna who painted the words "Pussy Riot" on her back and wore a balaclava during her Moscow show. The documentary portrays the grim state of present-day Russia, a country starkly divided between conservatism and anarchy. Pussy Riot believes that art has to be free and they're willing to take it to extremes. "Pussycat made a mess in the house," they say, and the house is Russia. The filmmakers do not seek to moralize, they simply edit events and leave viewers to draw their own conclusions.

Tim Landers, a prolific songwriter and founding member of the emo/pop-punk band TRANSIT, struggled. He fought battles, often privately, with substance misuse and his own mental health needs. "Don’t Forget To Leave" paints a poignant portrait of Landers, from his early success up until the posthumous release of Weathervane by his band Cold Collective. His story is chronicled through archival footage and interviews with members of A Loss For Words, The Story So Far, Frank Turner, Man Overboard, Transit and Cold Collective, family members and mental health professionals.

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.

Bruce Macdonald follows punk bank Hard Core Logo on a harrowing last-gasp reunion tour throughout Western Canada. As magnetic lead-singer Joe Dick holds the whole magilla together through sheer force of will, all the tensions and pitfalls of life on the road come bubbling to the surface.

Two girls named Nana meet on a train to Tokyo. Nana K. aims to reunite with her boyfriend and Nana O. hopes to make it big in the music business. Despite their differences, the pair hit it off and become roommates.

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.

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.