An intimate look into the personal lives of pop music's greatest and most influential artists.

Aging opera singer Joachim Dallayrac retires from the stage and retreats to the countryside to school two young singers. Although the rigorous training takes its toll on both teacher and students, there is plenty of time for relationships to develop between the three.

Traveling con artist Harold Hill targets the naïve residents of a small town in 1910s Iowa by posing as a boys' bandleader to raise money before he can skip town.

Dan Stone's band may have just been dumped from their record label, but they're still young and they still feel like they've got a few hits left in them. Of course, everybody knows that nothing rockets a band to the big time better than the death of a lead singer, and when the band agrees to fake Dan's death in exchange for some well-timed publicity, the plan pays off better than they ever might have expected. The trouble is, a beautiful female reporter has been assigned to investigate the mysterious death, and now, as her reporter's instincts lead her ever closer to the truth, the "dead man" realizes that the girl of his dreams is also the girl who could destroy his career if news breaks of the band's elaborate ruse.

At a famous London disco venue, a competition is announced to select two dancers to star in a new film.

A Syrian, Jewish dancer struggles to grapple with the sudden loss of her hearing.

即便国籍、年龄不同，在向着音乐的目的地途中相遇，怀揣着同样的梦，走着相同的路，一点点 一点点 正在实现梦想。

This documentary film is mostly about the New York Pop Festival, which began on July 17, 1970 at Randall's Island, NY, and lasted for three days

DELUXE TWO-DISC EDITION 　　AVANT-GARDE 3 EXPERIMENTAL CINEMA 1922-1954 　　CAVALCANTI MAAS PETERSON BROUGHTON BUTE KESSLER WHITNEY KIRSANOFF MURPHY MARC'O WATSON HUFF 　　From THE Collection of THE GEORGE EASTMAN HOUSE AND FROM THE RAYMOND ROHAUER COLLECTION 　　From the little theaters of the 1920s to the ad hoc film societies of the '50s, avant-garde cinema knew no established form and held no predictable position. The boundaries of its history are still hotly debated, but its rough sensibilities informed and permeated the city symphonies of Alberto Cavalcanti, the visual music of Mary Ellen Bute and John Whitney, the classroom films of Sidney Peterson, the confessional film poems of Willard Maas and John E. Schmitz, the Lettrist cinema of Marc'O, and even marginal exploitation films and home movies. Drawn from the rich collections of Raymond Rohauer and the George Eastman House, Kino's third volume of experimental films continues to illuminate the degree to which cinema's evolution has been influenced by those filmmakers who occupy its periphery.

DELUXE TWO-DISC EDITION 　　AVANT-GARDE 3 EXPERIMENTAL CINEMA 1922-1954 　　CAVALCANTI MAAS PETERSON BROUGHTON BUTE KESSLER WHITNEY KIRSANOFF MURPHY MARC'O WATSON HUFF 　　From THE Collection of THE GEORGE EASTMAN HOUSE AND FROM THE RAYMOND ROHAUER COLLECTION 　　From the little theaters of the 1920s to the ad hoc film societies of the '50s, avant-garde cinema knew no established form and held no predictable position. The boundaries of its history are still hotly debated, but its rough sensibilities informed and permeated the city symphonies of Alberto Cavalcanti, the visual music of Mary Ellen Bute and John Whitney, the classroom films of Sidney Peterson, the confessional film poems of Willard Maas and John E. Schmitz, the Lettrist cinema of Marc'O, and even marginal exploitation films and home movies. Drawn from the rich collections of Raymond Rohauer and the George Eastman House, Kino's third volume of experimental films continues to illuminate the degree to which cinema's evolution has been influenced by those filmmakers who occupy its periphery.