Korter í Áflog(2021)

Kraftwerk and the Electronic Revolution(en)

Kraftwerk's vision of a keyboard-driven world of clicking metronomic rhythms and digitised sound bites may have been the stuff of avant fantasy in the 1970s (the decade that saw the band's first groundbreaking albums), but it is a reality in the new millennium. Their visionary style is explored in KRAFTWERK AND THE ELECTRONIC REVOLUTION, a study of the group, their career and their emergence as the most influential electronic band in the world.

CAN: The Documentary(en)

The late-'60s avant garde rock band CAN gets a feature-length tribute with this affectionate documentary chronicling its odd inception and subsequent career. In CAN -- The Documentary, the remaining band members are interviewed amidst culled together archival footage from talk shows, concerts, and television appearances to paint a portrait of a band who always remained happily on the sidelines of mass appeal, mixing street music, jazz, folk, and rock into a sometimes poppy, sometimes abstract stew. The band's influence on such seminal acts as Sonic Youth and Talking Heads is also analyzed.

Vagabond's Band(de)

In 1979, krautrock group Embryo toured Iran, Afghanistan and India by bus, while performing with local musicians and documenting their trip.

CAN: The Free Concert(en)

The experimental German krautrockers CAN's legendary "Free Concert," recorded in Cologne's Sporthalle, Germany, on February 3, 1972. The circumstances of this Cologne show were unusual. Rather improbably for such an experimental band, Can actually scored a chart success in Germany with "Spoon," which would later be tacked onto the end of Ege Bamyasi.

Romantic Warriors IV: Krautrock (Part I)(en)

The fourth in a series of feature-length documentaries about Progressive rock written and directed by Adele Schmidt and José Zegarra Holder. Krautrock, Part 1 focuses on German progressive rock, popularly known as Krautrock, from in and around the Cologne, Düsseldorf, and Hamburg regions of Germany. Artist featured include Kraftwerk, Neu, Can, Faust and others.

CAN and Me(de)

In 1968, musician Irmin Schmidt and friends founded the avant-garde band "Can", which achieved worldwide fame. Schmidt also made a name for himself as a composer for films by Wim Wenders. In this documentary, the charismatic sound tinkerer looks back on his life and career.

Amon Duul II: Plays Phallus Dei(en)

Directed by German filmmaker Rüdiger Nüchtern, this behind-the-scenes rock documentary captures Amon Düül II, as the progressive rockers record their debut album, "Phallus Dei," in a Munich recording studio in 1968. Blending performance footage with a collection of psychedelic nature clips, Nüchtern's meditative film captures the true essence of the legendary krautrock collective. The movie premiered at the Edinburgh Film Festival.

Tangerine Dream - Signals from the Schwäbischen Strasse(de)

German TV film, also shown on Spanish TV in 1976, this is a film all about TD which includes informal interviews and concert/studio footage, most of which seems to have been done exclusively for the film. The interviews are in the German language. The street name in the title refers to where Edgar Froese used to live in Berlin (apparently Klaus Schulze lived on the same street at the time) and is now the site of the TDI offices.

Romantic Warriors IV: Krautrock (Part 2)(en)

Romantic Warriors IV: Krautrock (Part 2) is the 2nd film of the Krautrock Trilogy, and explores eminent Krautrock bands from the South of Germany. Part 2 focuses on bands from Munich, Wiesbaden, Ulm, and Heidelberg, and highlights a more recent band from Aachen.

BAUS '93(ja)

1993 recording of band Les Rallizes Dénudés performing at the Baus Theater.

Birth Control - Live in Harmonie Bonn(de)

Live performance of the prog legends Birth Control. The concert recording contains new material, but also well-known classics, handmade grooves, interesting harmonies, burning solos and soulful rock vocals in front of an enthusiastic audience.

SAM(en)

A filmed homage to Sam Shepard, in a single fixed frame where the treetops sway under a moving cloud cover. Orchestrated by the camera in this forest environment, brief spoken and sung interludes evoke touching dedications punctuating the solitude of the scene.

The Nanny Reunion: A Nosh to Remember(en)

The cast members reminisce about the show and present exclusive blooper footage never shown on television, as well as an update on their current activities.[1][2] The reunion took place at Fran Drescher's oceanside home in California. The entire cast was present except for Daniel Davis, who was performing in the musical La Cage aux Folles on Broadway at the time and was unable to attend. Also at the reunion were Drescher's mother and father, Sylvia and Morty, who made several appearances on the show. In the special, Daniel Davis, or "Danny", was said by Drescher to have gotten "lost". At the end of the special, "Danny" (actually Danny Bonaduce), makes an appearance.

The High Sign: A Filmmaker Emerges(en)

Documentary about Buster Keaton's The 'High Sign' (1921) and Keaton's developing style.

Jewish Delis: Something to Kvell About!(en)

A celebration of a great Jewish-American tradition. Beginning as places for Jews from Central and Eastern Europe to eat and meet, they expanded across America and eventually attracted as many non-Jews as Jews. Today, the number of Jewish Delis has shrunk dramatically and many of the survivors have adapted to changing times, sometimes in ways their forebears might not recognize.

One Week: Marvelous Toys(en)

Short documentary on the making of Buster Keaton's One Week.

东瀛大宝荐：迷失东京(zh)

The Haunted House: Gags and Growth(en)

Documentary about the development of Buster Keaton's The Haunted House (1921).

The Goat Is Not a Goat(en)

A short documentary on the works of Buster Keaton.

At Night, the Red Sky(fa)

On a very dark night, in the boiling atmosphere of the recent Iranian uprising, a woman and a man travel through time and remember. Since September 2022, a large part of the Iranian population has been in revolt. Women and men are saying ‘no’. What is the content of this ‘no’? Totalitarian resentment condemns us to forget, but the film’s protagonists try to go back in time through their own memories-footages, and take us through the labyrinths of a society in search of its image. Memory-image is a weapon with which they hope to rescue a revolt, a liberation