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Una historia de ambición y excesos desmesurados que recorre la ascensión y caída de múltiples personajes durante una época de desenfrenada decadencia y depravación en los albores de Hollywood.

Al carecer de una narrativa formal, el clásico de Warhol sigue a varios residentes del Hotel Chelsea en la ciudad de Nueva York de 1966, presentado en una pantalla dividida con una sola pista de audio junto con un lado de la pantalla.

Multimedia artist Laurie Anderson reflects on her relationship with her beloved terrier Lolabelle.

This is a documentary about direct-cinema from its very beginnings (Nanook of the North) to the fake-direct-cinema of the Blair Witch Project. All the important direct-cinema filmmakers are portrayed and/or interviewed: Leacock, Wiseman, Maysles, Pennebaker, Reisz and others.

In 1930, a group of three Russians - Sergei Eisenstein, Grigori Alexandrov, and Eduard Tisse - began an ambitious film in Mexico. A year later the backers halted the project before filming was complete.

A feature-length documentary that takes a daring in-depth look at the monolithic and controversial U.S. television game show that had America in a frenzy and changed our relationship with daytime TV forever. It's an eye-opening romp through the inner workings of the game show industry uncovering its objectives and portraying the lengths the advertisers and network executives sometimes go to in order to achieve them.

Images of street life in New York's Spanish Harlem during the 1940s.

Silent film to accompany John H. Whitney's lecture to the 1967 Aspen Design Conference. Narration added in 1968 to explain the graphic art potential of the computer and the methods and philosophy involved in Whitney's computer filmmaking.

Host Gene Kelly takes a nostalgic look at silent films from their earliest beginnings to the introduction of sound with "The Jazz Singer."

A Navajo short documentary about a weaver.

An experimental film from directors Mary J. Tsosie and Maxine Tsosie which focuses on the role of the Medicine Man in the Navajo culture.

Al Clah was not a Navajo from Pine Springs. He said: they making films about things out there, the trading post, things you can see; I'm making films about inside: I like to see scenes that people never expected, the legends, the gods'.

A Navajo short film which documents a boy drawing and using water from Old Antelope Lake.

Painter Jasper Johns works in his studio in 1972 repainting and discussing his "Map". John's work over the next 18 years is reviewed. Then, the film ends with Johns at work in his final etching of "The Seasons" in 1989.

An experimental film by Susie Benally which depicts the creation process of a Navajo Weaver.

A Navajo documentary focusing on the location, refinement, and craftsmanship of silver art.

The last day of hot metal typesetting at the New York Times.

Follows a group of Indians as they survey, excavate, and install a water well and pump on a Navajo Reservation.

Commissioned to accompany the 1981 Camille Pissarro Exhibition at the Museum of Fine Arts, Boston.

The direct cinema film touches on various passages in the alternative lifestyles of three wilderness "bush" couples living on the Yukon River, 100 miles below the arctic circle. The camera follows the central couple while they salmon fish on the Yukon by boat in summer, hunt bear in fall and caribou by dogsled in winter. We see tender domestic scenes rarely associated with this harsh and challenging lifestyle. The film's light touch allows subtle themes to emerge without advocating a point of view. These people live as few others do on our planet, far away from all civilization and society. And yet the film reveals how even the slimmest contact with humanity can reveal something true about humanity. The film focuses on the character Nancy and her struggles to define herself in her relationship and in her life. Her partner, Core, is the adept Native Canadian whose prowess in the wilderness is vivid. The film was shown at the Cinema du Reel Festival, Paris; The Munich International Documentary Film Festival; and the Chicago International Film Festival, where it won a Silver Hugo trophy. Richard Leacock, "the film reminds me of Robert Flaherty" Distributed by the Museum of Modern Art (MoMA)

The film begins with a sun materializing out of the emptiness of space. In the first of three sequences we see various images from nature against music: the sky, trees, leaves, a bird, water, sand, a beach. A little boy (Herbert Matter's son, Alex Matter) wanders along the beach observing the natural world around him. He walks and presently comes to a house and peers inside. The second sequence has no music. The narrator speaks of sculptor Alexander Calder and his work, as we see Calder in his workshop, cutting and creating unusual shapes, and seeing the resultant artworks. The last sequence has music as we view images of Calder's work. However, now they are intercut with images from nature so that we understand that Calder's inspiration is the natural world around him. The film ends as it began, with an image of the sun, now fading into the sky.