Loud, fearless and (un)typical girls: Gina Birch (The Raincoats) and Helen Reddington (The Chefs), musicians and punk icons turned directors, serve up a fascinating documentary built on new interviews with the women who played instruments in punk bands in the 1970s. In accounts laced with wit, honesty and insight, pioneering players including the Adverts’ Gaye Black (bass), Palmolive from The Slits (drums), Shanne Bradley from The Nips (bass), Jane Munro from The Au Pairs (bass), Hester Smith and Rachel Bor from Dolly Mixture (drums and guitar), bassist Gina and guitarist Ana Da Silva from The Raincoats, as well as many others, we hear about acquiring instruments, learning to play, forming bands and getting gigs.
Step Up and Be Vocal (2001)
Interviews from 1999, with some queer artists, activists and bands about queer punk, feminist concepts and actions. Filmed during a trip to San Francisco.
Crock of Gold: A Few Rounds with Shane MacGowan (2020)
A celebration of the Irish punk/poet Shane MacGowan, lead singer and songwriter of The Pogues, that combines unseen archive footage from the band and MacGowan’s family with original animations.
There Is No Authority But Yourself (2006)
A Dutch documentary about the history of the anarchist punk band Crass. The film features archival footage of the band, and interviews with former members Steve Ignorant, Penny Rimbaud and Gee Vaucher.
This Is Our Scene Too! (2016)
A documentary about women in the Indonesian DIY hardcore/punk scene, including interviews with musicians, photographers, and zine-makers.
Not Bad for a Girl (1995)
A documentary on women musicians of the 1990s from the indie rock music genre, grunge and riot grrrl including Hole, Babes in Toyland, L7 and more.
Autosuficientes (2016)
Documentary about the legendary Spanish Post-Punk band Paralis Permanente. A band that has gained a world wide cult following for their unique sound, while only having released one album. The album is highly regarded as the record that spawned the spanish darkwave sound known as "onda siniestra".
MxPx - Both Ends Burning (2011)
"Both Ends Burning" is a film that captures MxPx at a crossroads in their seasoned career. Directed by Bryan Buchelt, this documentary not only follows the band's struggles in the face of the new touring climate, it also looks at the legacy and impact that Mike, Tom, and Yuri have had on the music industry, fellow bands, and their fans. This is one of the first true looks into the life of the notoriously private working class band on the road and at home.
Crash 'n' Burn (1977)
Crash 'n' Burn is an experimental film shot in and named after Toronto, Ontario's first punk rock club. (Not to be confused with Peter Vronsky's similarly titled 1977 documentary on the Toronto punk scene made for the CBC television network.) The film, shot on 16mm black-and-white stock, features performances by Dead Boys, Teenage Head, The Boyfriends, and The Diodes".
Facing Fear (2013)
The worlds of a former neo-Nazi and the gay victim of his senseless hate crime attack collide by chance 25 years after the incident that dramatically shaped both of their lives. They proceed to embark on a journey of forgiveness that challenges both to grapple with their beliefs and fears, eventually leading to an improbable collaboration...and friendship.
What Difference Does It Make? (2014)
A documentary that explores the challenges that a life in music can bring.
Mother, I've Pretty Much Forgotten Your Face (2016)
Pig heads, intestines, megaphones: all these and more have been thrown into crowds of loyal fans following the influential punk band THE STALIN or any of number of Michiro Endo's other bands since 1980. Taking a step in front of the camera, however, Endo offers a very different kind of encounter in this inspiring self-portrait. "Mother, I've Pretty Much Forgotten Your Face" follows the artist, a native of Nihonmatsu, Fukushima, on the 2011 nationwide solo tour celebrating his 60th birthday, which was interrupted by the Great East Japan Earthquake. Traveling, performing and talking with fellow musicians and activists, Endo reflects on the past and future of Fukushima, the legacy of Hiroshima, his upbringing and his feelings about his mother, communicated in the song from which the documentary is named.
Who Is Poly Styrene? (1979)
Originally aired as part of the Arena series, this BBC biography of Poly Styrene of X-Ray Spex. She is one of the first black women singer-songwriters in the early New Wave/Punk scene.
Meet Me in the Bathroom (2022)
Set against the backdrop of 9/11, this documentary tells the story of how a new generation kickstarted a musical rebirth for New York City that reverberated around the world.
Satan Panonski: Documentary (1990)
Satan Panonski, born Ivica Čuljak in 1960, was a Croatian punk musician, poet, artist and freak performer. We get to follow his performance at the Studentski Kulturni Centar, Novi Sad, visit the cult station of Radio B92, a conversation at the apartment and finally the never presented staff from the Popovača Hospital. In 1991, Čuljak joined the Croatian army in the Croatian War of Independence. He died in 1992 while still a Croatian soldier. The cause of his death is unknown. It is rumored that he died after slipping and accidentally discharging the gun he was carrying.
Toypunks (2008)
Toypunks is a documentary film series covering the converging world of Japanese toys, fashion and punk rock. Exploring the birth of the designer vinyl explosion from its roots in character culture and punk music, Toypunks takes you in-depth with Japanese fashion icon, Hikaru Iwanaga, creator of the worlds first designer toy. Frank Kozik, Hiddy Kinoshita of Secret Base, Balzac, Three Tides Tattoo and more are interviewed highlighting profound cross-cultural connections between todays top creative talents in toys and fashion.
Una identidad en absurdo Vol. 1 (2011)
Guillermo Gómez Álvarez explores the identity politics of Puerto Rico via archival footage from various sources that clash with nine original songs from local independent musicians and a thematic analysis from a psychoanalyst and a historian. From the juxtaposition the absurd becomes coherent and the coherent becomes absurd as Puerto Rican identity is defined and rejected almost simultaneously.