Reactionary and aggressive circles in the United States are trying to establish a dictatorship in the country, preparing to assassinate the president and introduce a state of emergency in the country. The conspiracy is led by the FBI director...

Eat the Document is a rarely exhibited documentary of Bob Dylan's 1966 tour of the United Kingdom with the Hawks. It was shot under Dylan's direction by D. A. Pennebaker, whose groundbreaking documentary Dont Look Back [sic] chronicled Dylan's 1965 British tour. The film was originally commissioned for the ABC television series Stage '66. According to Howard Sounes's biography, "Down the Highway: The Life of Bob Dylan", after his motorbike accident in July 1966, Dylan viewed a cut of the material edited by Pennebaker and Bob Neuwirth and thought it was too similar to Dont Look Back. Dylan decided to re-edit the film himself, assisted by longtime associate Howard Alk. Dylan however. Pennebaker stated: "It's not something you learn parking cars in a garage. You gotta know some of the rules and he didn't know any of the rules." It can be assumed Dylan knew some of the rules (he had, after all, seen films) and that some of the unconventional editing choices were deliberate. Dylan and Alk's cut was eventually shown to ABC television, who promptly rejected it as incomprehensible to a mainstream audience.[1] The film includes some powerful live performances of Dylan's songs of the period. It was never given a theatrical release or made commercially available on video, but unauthorized bootleg copies circulate among Dylan collectors. Also circulating in various bootleg formats is a long outtake featuring a possibly alcohol- or drug-impaired Dylan in a limousine with John Lennon. As Dylan shows signs of fatigue, Lennon urges him to get a grip on himself: "Do you suffer from sore eyes, groovy forehead, or curly hair? Take Zimdon!...Come come, boy, it's only a film. Pull yourself together."[2] Todd Haynes's film I'm Not There features a dramatisation of this conversation, with Cate Blanchett as Bob Dylan. Highlights of the film include an interview with the Manchester Free Trade Hall concert-goer who shouted "Judas!" during the second, electric half of the set; the performances with the Hawks; the scenes of Dylan and Robertson in hotel rooms throughout England playing otherwise-unreleased songs; and a piano duet with Johnny Cash. Some of the concert footage shot for Eat the Document - including the "Judas" incident in Manchester's Free Trade Hall - was used in Martin Scorsese's Dylan documentary, No Direction Home.

A woman starts off by drinking 2 bottles of what first appears to be soda, but upon closer examination we find that its piss! Then she moves right along to making a mess in her panties, then cleaning the floor of it with her tongue, and then eats a big plate full of noodles with REAL worms! She now gets nasty! If you can make it this far, you’re in for a real treat as she starts puking all over the camera and licking it up!

Two shorts about the making of Hideaki Anno's movie "Love & Pop", one from the perspective of a bumbling assistant, and one from the perspective of a AV director filming a documentary about Anno but narrated by a worker from a bread factory

Frames 20th-Century ideologies and dreams of liberation, using found footage. The film presents an account of the period between 1932-1985, juxtaposing two different films in a montage format. One, 18mm home footage of an unknown Danish family, taken before and after WW2. A deadpan camera registers happy holiday moments, the Berlin Olympics (1936), and the World Exhibition in Paris (1937). Secondly, and with the same lack of involvement, we see the liberation of Denmark in May 1945. The second film is a first generation erotic movie, shot in 1972, showing a student's party developing into carnality, reflecting the liberating promises of this newly legalized pornography. The entire montage is accompanied by and interview with Charles Manson, who projects his messianic views from his prison cell. Through its anti-dramatic slide from normality to perversion, the film implicitly challenges the 20th-Century welfare state's promise of freedom to its citizens.

The only film except for helping John Marshall with The Hunters that I did when I went to the Kalahari in 1957. I became entranced by an old lady about whom I photographed and made this little film.

Woman interviews her friends, talking about sex.

Follows a week in the life of New York-based Brazilian stand-up comedian Rafi Bastos, as he gets from a gig to another, showcases the American comedy scene and prepares his first special in Chicago.

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