In the 1990s, a motley band of teen surfers from the north shore of Oahu brought professional surfing to new heights. But as their stars rose, the competition threatened to tear their group apart.
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The year is 1986. Gorgeous Ladies of Wrestling (GLOW) is about to burst onto the scene as the first ever all-female wrestling show on television. By 1989, the GLOW girls were an international phenomenon, attracting over seven million viewers worldwide, touring the nation and making big bank for the show’s producers. One year later, GLOW was gone. GLOW: THE STORY OF THE GORGEOUS LADIES OF WRESTLING chronicles the rise and fall of this hit television show through the stories of those who lived it. For some, the show was a brief foray into acting and a short-lived adventure. For others, their time in GLOW would impact and influence their lives for years to follow. For all of the women, working on GLOW was a unique and exciting experience that will bond them forever.
The Day the ’60s Died chronicles May 1970, the month in which four students were shot dead at Kent State. The mayhem that followed has been called the most divisive moment in American history since the Civil War. From college campuses, to the jungles of Cambodia, to the Nixon White House, the film takes us back into that turbulent spring 45 years ago.
A young man searches for his identity deep in the Amazon jungle, while living among the tribe that murdered his grandfather decades earlier. The Grandfathers is a motion-graphics documentary completing Jim Hanon’s inspiring trilogy begun with Beyond the Gates of Splendor and followed by End of the Spear. These films were produced by Mart Green. Jesse Saint struggles to find his place in a world dominated by the memory of a famous grandfather he never knew and a heroic father he could not understand. Years spent living among the Waodani and befriending the three old men who took part in his grandfather’s murder teach Jesse the healing power of dignity, respect and forgiveness. In the jungle, Jesse must confront his family’s past as he determines his own future. This documentary is a moving tribute to a young boy’s quest for significance and wholeness, and its imprint on three old men, who, unwittingly, are on a quest of their own.
Anas has been called the James Bond of Ghanaian journalism. He’s exposed a sex-trafficking ring by masquerading as a bartender, uncovered deplorable conditions in Accra’s psychiatric hospital, posed as a crown prince in order to bypass a rebel checkpoint. His unorthodox methods are infamous throughout Ghana, but, despite his notoriety, his face is unknown to the public. The film takes us behind the scenes of the Tiger Eye Investigations Bureau hot on the heels of his next big case.
Michael Winterbottom, celebrated director of 24 Hour Party People, The Road to Guantanamo, and The Trip, joins forces with actor, comedian, and provocateur Russell Brand for that most unlikely of documentary approaches: an uproarious critique of the world financial crisis. Building on Brand’s emergence as an activist following his 2014 book Revolution, where he railed against “corporate tyranny, ecological irresponsibility, and economic inequality,” The Emperor’s New Clothes pairs archival footage with comedic send-ups conducted in the financial centers of London and New York. Brand spotlights not only how the crisis affected the working class around the world, but also how the uber-wealthy benefited from the downturn. With Winterbottom providing his signature ingenuity and pinpoint directorial control, they generate a riveting, boisterous, and, at times, cathartic riff on the extreme disparities between the haves and have nots in contemporary society.
Fred Rogers used puppets and play to explore complex social issues: race, disability, equality and tragedy, helping form the American concept of childhood. He spoke directly to children and they responded enthusiastically. Yet today, his impact is unclear. Have we lived up to Fred’s ideal of good neighbors?
It was a strange and curious misfit. Though born a Buick, the Grand National was clearly something else. It was too quick and too brutish to carry that stodgy name. There was something inside the car trying to get out.