As the creative powerhouse behind hugely influential band The Kinks, Ray Davies was responsible for writing some of the best-loved songs of the 60s like "You Really Got Me", "Tired of Waiting", "Sunny Afternoon" and "Waterloo Sunset".

Dave Davies, the legendary guitarist of the Kinks, relives his tumultuous life and times amidst the serenity of his Exmoor sanctuary. Walking across the moors that have fascinated him since childhood, Dave takes us back to life with Brother Ray in an extended working class family amidst the austerity of postwar London. Bringing to life its deprivations and triumphs, he reveals the profound sense of community and family bonds which underpins the extraordinary story of the Kinks. From their formation at a North London Secondary Modern, through time spent as backing band to an upper class crooner at debutante balls, Dave tells how the Kinks career as Searchers sound alikes was almost over before it began.
That all changed though when Dave attacked his amp with a rusty Gillette razor blade in the front room of their semi detached house in Muswell Hill. Slashing the speaker, he produced the distorted, barking dog guitar riffs which powered their first hit, You Really Got Me, catapulted the Kinks to worldwide fame and in the process rearranged the sonic architecture of the 1960s. Finding himself at the unlikely age of 15 enshrined along with Brian Jones and Keith Moon as one of the three undisputed Kings of Swinging London, Dave trailblazed the rock 'n' roll lifestyle. As he puts it, Dave did the partying and Ray wrote about it. In America Dave's shoulder length hair and subversive sexuality on stage drove teenage TV audiences wild whilst scandalising the Rat Pack generation.
Dave explains why The Kinks' refusal to compromise who they were resulted in them being banned from America at the height of their fame. For the next four years, while the Beatles, Stones and Who went onto global megastardom, the Kinks re-invented themselves as the quintessential English group with timeless hits such as Sunny Afternoon, Waterloo Sunset and Days. With disarming honesty, Dave reveals how the burning glass of fame caused the sibling rivalry between him and Ray to explode into violence on stage and mental cruelty off it. He tells how, by the end of 60s, the breakdown of the relationship between the warring brothers and his own surfeit of girls, drink and pills led to the mother of all rock 'n' roll meltdowns. Following the failure of his briefly successful solo career, Dave finds himself locked in a New York hotel room, listening to voices telling him to jump.

A filming of the 1990 Rolling Stones "Steel Wheels" concert that traveled Europe. This was filmed in the IMAX process, which allows the film to be projected in a size ten times the size of a regular 35mm projected image.

Tracklist:
01. There’ll Always Be An England (Vera Lynn)
02. Pretty Vacant
03. Seventeen
04. No Feelings
05. New York
06. Did You No Wrong
07. Liar
08. Beside The Seaside
09. Holidays In The Sun
10. Submission
11. I’m Not Your Stepping Stone
12. No Fun
13. Problems
14. God Save The Queen
15. EMI
16. Bodies
17. Anarchy In The UK
18. End Credits
19. Road Runner
Extra: “The Knowledge – The Pistols’ Guide To London”
20. Steve Jones, Paul Cook, Glen Matlock, John Lydon – A Unique Guide To London By The Pistols
21. John Lydon – John Lydon’s Open-top Bus Ride

犹太裔的BULLET刚在狱中服刑期满，但他并没有因此而改过自新，反而继续从事他最熟悉的勾当——贩毒及犯罪。一晚BULLET与朋友李斯达进行入屋行窃，然后拿偷来的钱到夜总会挥霍。不料，死对头坦克已派人前往并打算干掉他，二人发生激烈的殴斗。

约翰尼·德普将制作推出一部纪录片《Shane》，主角为爱尔兰传奇民谣/朋克音乐人、The Pogues乐队的Shane MacGowan。
朱利安·邓波(《污秽与愤怒》《摇滚大骗局》)执导，并和德普等人一起制片，将聚焦MacGowan的音乐、才情和人生故事，“捕捉爱尔兰的灵魂，和MacGowan那非常私人的、深入‘黑暗之心’的旅程。”德普表示自己与MacGowan认识30年了，很荣幸制作这部决定性的电影来“聚焦我的朋友和20世纪最重要的艺术家、最受爱戴的诗人之一”。
该片将在英国、爱尔兰等地上映，也会在BBC4台播出。

Julien Temple shot the music video, which echoed the 1950s style of the movie. The video was a homage to an old British advert for Strand cigarettes. The ill-fated advertising tagline "You're never alone with a Strand" is quoted by Partners in the film. The video also uses footage from the film.

Vic and his date watch as rock star Lord Byron performs the song "Blue Jean." Vic tells her that he knows the star, and that Lord Byron will visit them at their table after the show.

Oh! You Pretty Things (from Old Grey Whistle Test),
Queen Bitch (from OGWT),
Five Years (from OGWT),
Starman (from Top of the Pops), John I\'m Only Dancing,
The Jean Genie,
Space Oddity,
Drive-in Saturday (from Russell Harry Plus Pop),
Life on Mars?,
Ziggy Stardust (from the motion picture),
Rebel Rebel (from TopPop),
Young Americans (from the Dick Cavett Show),
Be My Wife, \"Heroes,\"
Boys Keep Swinging, D.J.,
Look Back in Anger,
Ashes to Ashes,
Fashion,
Wild Is the Wind,
Let\'s Dance,
China Girl,
Modern Love,
Cat People (Putting Out Fire) (from Serious Moonlight Tour),
Blue Jean,
Loving the Alien,
Dancing in the Street (with Mick Jagger)
Absolute Beginners,
Underground,
As the World Falls Down,
Day-In Day-Out,
Time Will Crawl,
Never Let Me Down,
Fame \'90,
Jump They Say,
Black Tie White Noise,
Miracle Goodnight,
Buddha of Suburbia,
The Heart\'s Filthy Lesson, Strangers When We Meet,
Hallo Spaceboy,
Little Wonder,
Dead Man Walking,
I\'m Afraid of Americans,
Thursday\'s Child,
Survive

In this personal film, Julien Temple, who directed the definitive documentary history of the Glastonbury Festival, explores the alternative side of the festival away from the spotlight of the main stages with their global pop superstars.
In fields known as Shangri La, Arcadia, the Unfair Ground, Strummerville, Block 9 and the Common, every year an unlikely attempt at utopia takes shape. Here, the festival reconnects with its radical, countercultural origins combining underground music, performance art and some of the funniest and most provocative sights of the festival with a dark, urgent 21st century spontaneity.
Filmed at the 2011 festival, this 75 minute documentary features Michael Eavis, the creators of, and visitors to the true heart of the Glastonbury, and, fuelled by the music of tomorrow, explores the hopes, dreams and personal utopias of those who, for one weekend in June, come together as the tribes of 21st Century Albion.

A rather incoherent post-breakup Sex Pistols "documentary", told from the point of view of Pistols manager Malcolm McLaren, whose (arguable) position is that the Sex Pistols in particular and punk rock in general were an elaborate scam perpetrated by him in order to make "a million pounds."

尚·维果被后世的影评人尊称为“法国天才导演”，他执导的仅有的两部剧情长片《操行零分》和《阿特兰提斯号》都在影史上占有重要地位。然而，在维果生前，他个人在婚姻、家庭、事业尤其在健康上都遭遇相当不幸，结果年仅二十九岁便因败血病去世。

1989 film directed by Julien Temple

A musical adaptation of Colin MacInnes' novel about life in late 1950s London. Nineteen-year-old photographer Colin is hopelessly in love with model Crepe Suzette, but her relationships are strictly connected with her progress in the fashion world. So Colin gets involved with a pop promoter and tries to crack the big time. Meanwhile, racial tension is brewing in Colin's Notting Hill housing estate...

Ten short pieces directed by ten different directors, including Ken Russell, Jean-Luc Godard, Robert Altman, Bruce Beresford, and Nicolas Roeg. Each short uses an aria as soundtrack/sound, and is an interpretation of the particular aria.

英格蘭西南方的平原孕育了世界上規模最大的音樂祭。自1970年起，已成為與伍茲塔克一般，深刻影響搖滾樂的嬉皮神話。全片混合了歷史影像、現場訪談與表演實況，不但讓人體驗Radiohead、Pulp、Coldplay等樂團的魅力，更呈現了活動本身與裸體解放、嗑藥文化、青年暴動之間的關係。
As the King of all music festivals takes a break in 2006, Temple's documentary is the closest thing you can get to the Glastonbury experience this year. It charts the history of the event, but is formed in a way that recreates the feeling of three days of fun rather than simply following chronology.
Two hours and twenty minutes might seem a long time for a documentary, but as you're kept smiling most of the way through, it's not in the least overbearing. We are treated to a number of musical highlights, but just as entertaining is meeting some of the weird and wonderful people that make the festival so unique. Particularly memorable are the three-man family team who run the tanker that sucks the, aherm, human waste out of the portaloos – such are the moronic faces of the two children, they really could be characters from Little Britain!

Friendship and betrayal between two poets during the French Revolution.

If nothing else, this is the only Sex Pistols film (there are now at least 3) to make explicit and in-depth reference to the band members' working class roots, and the way that experience informed their project. This alone makes the film worth seeing, as it explodes the myth, fostered no doubt by their PT Barnum manager, Malcolm McLaren, that the whole project was an exercise in cynical nihilism and money grubbing. As the band members tell it, nothing could have been further from the truth. I believe them.
The film is cobbled together in large part from 2 previous Sex Pistols documentaries, "Rock 'n' Roll Swindle," (a McLaren project also directed, ironically enough, by F&F director Julie Temple) and "D.O.A," plus clips from BBS television and elsewhere that try to locate the Pistols in the political and social climate that spawned them. This effort, to give the Pistols a historical context, is by far the most valuable part of the film for those trying to understand how a bunch of working class stiffs, who could barely play their instruments, and who only released one album, could set off an explosion that reverberates in the music world--if increasingly faintly--even today.
Best part of the film: footage from their last, secret gig at a palace in a working class district (they had been banned from appearing anywhere in England) before embarking on their ill-fated US tour. It consists of two performance on Christmas Day, benefiting the families of striking local firefighters, who had been out of work for many months. The attendees consist of the local lads and lasses, none of whom are "punk" in any apparent sense of the term.
Before the Pistols performed, everyone eats Sex Pistols cake and ice cream; "Never Mind the Bollocks" shirts are stretched over the pubescent bodies of every bobby soxer. Then, after a thank you from the emcee, the Pistols launch into the searing "Bodies," its sarcastic refrain sung from the point of view of an aborted fetus ("I'm not an animal!/I'm an abortion..."). All the boppers dance like it's a sock hop, with the difference that everyone gleefully throws leftover desserts at one another. Steve Jones is shown playing guitar with his face covered in cake icing, beaming. In his reminiscence about the gig, Rotten grows wistful, saying it was easily their best memory as a band, and the last good one before it all fell apart.
I never knew the guys were such sentimentalists.
It's hard to believe that there once was a time when rock music could actually matter, when it was possible to actually escape the commodified rebellion that now sells Budweiser, Nike, and SUVs, when it was possible, however briefly to scare the pants of the political establishment. Young pop music lovers who swallow the meretricious rebellion of rap or grunge--whose self-important lyrics and idiotically monotonous rhythms make their authors rich off the weekly allowances of white middle class kids whose idea of rebellion is big loud subwoofers in the Corolla Daddy bought them for their 16th birthday--might profit from getting a glimpse of the Real Thing.
The rest of us, who were lucky enough to have been there when history was made, and who can still recall the opening chords of "Anarchy in the UK" blasting all traces of "More Than a Feeling" and "Take It Easy" out of our speakers cabinets and into the first circle of music Hell where they always belonged, can enjoy the film for what it teaches us about the power of ordinary, thoroughly obnoxious people to make their own history, and ours.

伦敦城市的历史以及生活在这里的人们都是如此的丰富多彩。