Memory: The Origins of Alien (2019)

Director:
Alexandre O. Philippe

"The untold origin story behind Ridley Scott's Alien - rooted in Greek and Egyptian mythologies, underground comics, the art of Francis Bacon, and the dark visions of Dan O'Bannon and H.R. Giger. A contemplation on the symbiotic collaborative process of movie-making, the power of myth, and our collective unconscious."

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Valter (2012)

Director:
Andrej Acin

"Film Valter bavi se odnosom između mita i stvarnosti, svojevrsna je oda herojstvu, "stvarnih" i "filmskih" junaka. Sagovornici filma govore o tome ko su istinski heroji i da li su i danas među nama. Procjenjuje se da je više milijardi ljudi širom svijeta upoznalo Valtera gledajući film Valter brani Sarajevo u režiji Hajrudina Krvavca. Film Valter pokušava da odgonetne taj fenomen."

Dark Star: H.R. Giger's World (2014)

Director:
Belinda Sallin

"He feels at home in places we would flee from and lives his life among the very things we fear. Throughout his life, HR Giger had inhabited the world of the uncanny, a dark universe on the brink of many an abyss. It was the only way this amiable, modest and humorous man was able to keep his fears in check. Giger was merely the bearer of dark messages, charting our nightmares, drafting maps of our subconscious and molding our primal fears. A film with and about the internationally acclaimed and controversial painter, sculptor, architect and designer (Oscar for 'Alien')."

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I Am Divine (2013)

Director:
Jeffrey Schwarz

Nek umre svako ko ne voli DIVAJN i DŽONA VOTERSA!!! :)

"'I AM DIVINE' is the story of Divine, aka Harris Glenn Milstead, from his humble beginnings as an overweight, teased Baltimore youth to internationally recognized drag superstar through his collaboration with filmmaker John Waters. Spitting in the face of the status quos of body image, gender identity, sexuality, and preconceived notions of beauty, Divine was the ultimate outsider turned underground royalty. With a completely committed in-your-face style, he blurred the line between performer and personality, and revolutionized pop culture. "I Am Divine" is a definitive biographical portrait that charts the legendary icon’s rise to infamy and emotional complexities."

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Sonja (2011)

Director:
Dragana Kanjevac

"Dokumentarni film "Sonja" autorke Dragane Kanjevac, posvećen je jugoslovenskoj glumačkoj legendi - Sonji Savić. Dokumentarni film inspirisan je umetničkim životom popularne srpske filmske glumice, Sonje Savić, koja je preminula 2008. godine. Kao čudo od deteta, zvezda jugoslovenske kinematografije, seks simbol, urbana ikona generacije osamdesetih - bila je potpuno samosvojna, autentična pojava srpske kulture.

U filmu su zabeleženi iskazi Sonje Savić iz različitih perioda, svedočenja Sonjinih kolega i prijatelja, kao i raznovrstan arhivski materijal vezan za njeno glumačko i autorsko delovanje. O Sonji Savić su kroz film govorili: Rade Šerbedžija, Dušan Kovačević, Dragan Nikolić, Srđan Đile Marković, Milutin Petrović i mnogi drugi."

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The Dog (2013)

Directors:
Allison Berg,
Frank Keraudren

Dokumentarac o istinitom događaju po kojem je snimljen jedan od najjačih filmova ikada, Dog Day Afternoon iz 1975. Ko nije gledo da gleda.

"John Wojtowicz is the rare subject whose real life was more complex, more borderline-unbelievable and more gloriously strange than the one presented on the big screen. He was “The Dog,” the wannabe bank robber whose failed heist of a Chase Manhattan Bank in sweltering ’70s Brooklyn was the basis for Sidney Lumet’s classic “Dog Day Afternoon.” Portrayed by a peak-of-his-powers Al Pacino (named Sonny Wortzik in the film), Wojtowicz is mostly remembered for the ostensible reason behind the robbery—to pay for his boyfriend’s sex change operation. As the moving, sad, riotously humorous documentary “The Dog” explains, the film only captured traces of Wojtowicz’s personality, and only told bits of his story. ‘Afternoon’ is a masterpiece, to be sure, but the real dog’s life was even wilder, its central figure an utterly eccentric character."

Sticks and Stones (1999)

Directors:
Daniel Myrick,
Eduardo Sánchez

"Rare and hard to find mockumentary on the Blair Witch. This mockumenatry in my opinion is much superior to the movie itself. This was never released on DVD and this is incredibly hard to find but definitely a worth while view."

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The Diabolikal Super-Kriminal (2007)

Director:
Ss-Sunda

"A documentary on the controversial 1960s Italian photo novels known as Killing, aka Satanik in France and Sadistik in America. Also the basis for the Turkish cult film series shot as Kilink. Includes interviews with the original actors who were familiar faces from spaghetti westerns, splatter films and historical dramas from the 1960s and 70s." (73 min)

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Kenneth Anger: Film as Magical Ritual (1970)

Director:
Reinhold E. Thiel

"If you’re a Kenneth Anger fan, be prepared to be seriously blown away by this astonishing German television documentary from 1970 that shows the master at work on Lucifer Rising. It’s fun to ponder, as you watch, what the average German must have thought about this film, which doesn’t flinch from presenting some of the most outrageous ideas and imagery ever to be broadcast to an entire (unsuspecting) nation. It’s magnificently freaky stuff.

Not only would this have been the first look the world would get of Anger’s magnum opus (which he is seen shooting Méliès-style in a tiny space) there are substantial excerpts from Fireworks, Inauguration of the Pleasure Dome, Rabbit’s Moon, Puce Moment, and Invocation of My Demon Brother, which showed hash smoking (and cocks!) on TV. It’s impossible to imagine something like this ever getting on television in America 44 years ago, but I don’t think the BBC would have touched something this insane at the time, either.

As filmmaker Reinhold E. Thiel admits in his voiceover, it was Anger directing himself that they got on film. As he states, Anger really wasn’t that into allowing them to film him in the first place, but when he did relent it was on his terms. Anger’s interview segments were shot as he sat behind a makeshift altar, lit in magenta and inside of the magical “war gods” circle seen at the end of the film.

Of special note is we see Anger flipping through his “Puce Women” sketchbook (he’s an excellent illustrator) of his unmade tribute to the female archetypes of Hollywood’s golden era and the architecture of movie star homes (This notebook was on display at the Anger exhibit at MOCA in Los Angeles). Anger is also seen here shooting scenes with his Lucifer, Leslie Huggins (both interior shots in Anger’s makeshift studio and among the stones at Avebury) and with the adept in the war gods circle. Oddly, we can hear what the adept is saying (“Haven’t I seen you somewhere before?”) whereas in the final film he just seems to be muttering something mysterious when Lucifer appears.

Anger discusses his Aleister Crowley-inspired theories of art: How he views his camera like a wand and how he casts his films, preferring to consider his actors, not human beings but as elemental spirits. In fact, he reveals that he goes so far as to use astrology when making these choices.

This is as direct an explanation of Anger’s cinemagical modus operandi as I have ever heard him articulate anywhere. It’s a must see for anyone interested in his work and showcases the Magus of cinema at the very height of his artistic powers. Fascinating."

9 to 5: Days in Porn (2008)

Director:
Jens Hoffmann

"9to5 - Days in Porn focuses on the people behind a controversial and multi-billion dollar industry "The Adult Entertainment industry". It depicts their stories, each one different, unadorned and authentic, without glorification or prejudice. It delivers deep insight into their personal lives - from glamorous to grotesque - strange, fascinating, offensive, absurd and sometimes funny moments all at once."

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2001: A Space Odyssey Bonus DVD (2007)

Directors:
Paul Joyce
Gary Leva

"What Is Out There? - in which Keir Dullea reads from interviews from the likes of Kubrick, Isaac Asimov, and other renowned science fiction experts, exploring the philosophical underpinnings of the film and Kubrick's ideas regarding the God concept."

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