Depeche Mode's famous 101st and final concert of the 1987-1988 Music For The Masses Tour at the Rose Bowl in Pasadena.

Interviews and footage document the life and work of dancer Bessie Schonberg.

Westernhagens "Affentour" im Sommer 95 war die erfolgreichste Tournee eines deutschen Musikers überhaupt. Mit seinen Superhits "Sexy", "Schweigen ist feige", "Mit Pfefferminz bin ich dein Prinz" u. a. begeisterte er rund 850.000 Zuschauer in vier Wochen. Das Regie-Duo D. A. Pennebaker und Chris Hegedus begleitete Marius M.-W. während der Tour und gibt nun intime Einblicke in das Leben hinter der Bühne frei.

1978 veröffentlichte Marius Müller-Westernhagen das längst Kult gewordene Album „Mit Pfefferminz bin ich dein Prinz“. Vierzig Jahre später deutet er die zehn Songs künstlerisch neu. Ein alles andere als nostalgisches Projekt: Marius reizte die Herausforderung, die Stücke ins Heute zu übertragen. Der Dokumentarfilm beobachtet Marius bei der Arbeit im Studio. Außerdem spricht er über seine Wiederbegegnung mit dem Album. Und Zeitgenossen wie Joschka Fischer, Iris Berben und Hape Kerkeling erzählen, wie sie „Pfefferminz“ damals erlebt haben.

The filmmakers accompany Alan Schneider, director of the American premieres of most of Beckett's plays, and producer Daniel Labeille to the home of Billie Whitelaw, whom Schneider, ironically, had never met previously, and takes us through the rehearsal process of Beckett's newest play, including the recording of the dialogue, as almost all of it is voiceover. The final fifteen minutes of the film are the premiere performance in its entirety.

Concert documentary of The National's performance at Brooklyn Academy of Music in 2010, interspersed with interview footage of the band.

In the 1970s, the U.S. faced an energy crisis so severe that President Jimmy Carter declared it “the moral equivalent of war.” Seeking to curb the country’s dependence on foreign oil, Carter kicked off a legislative melee with the divisive Natural Gas Policy Act of 1978 at its center. This epic look at the inner workings of government chronicles the arduous efforts of lobbyists, senators, cabinet members, and the president himself to reach a compromise amid a deeply divided Congress. Directed by legendary documentary filmmakers D. A. Pennebaker, Chris Hegedus, and Pat Powell as a three-part PBS special, THE ENERGY WAR is a riveting immersion into the high-stakes world of DC dealmaking as well as a timely account of the messy realities of lawmaking in a fractious political environment.

Woodstock Diary was originally broadcasted on U.S. TV in August 1994 - in honor of the 25th anniversary of the event. Later it was released on DVD with remastered 5.1 sound. It includes performances not shown in the Woodstock movie but not exclusively. Between the songs there are recent interviews with the producers / organizers of Woodstock Joel Rosenman, John Roberts, Michael Lang, the stage announcer Wavy Gravy and Lisa Law (a member of the Hog Farm who helped out at the festival).

Join filmmaking duo Chris Hegedus and Nick Doob as their cameras follow Franken to book signings, campaign rallies and the launch of Air America Radio, documenting his transformation from irreverent funnyman to political pundit.

A film featuring the veteran soul music artists and music of Stax Records. It tells the story of soul, a musical genre that was to have a major influence on other styles of music for decades. Ten legends of soul talk about the beginnings and still show at their concerts today that, despite their advanced age, they have lost none of the energy and joie de vivre that defines this music.

Those who played prominent roles in Clinton's 1992 Presidential campaign return to discuss how politics and the media have changed since that time.

Assembled by some of the nation's top documentary filmmakers, this centerpiece film in HBO's 'Addiction' campaign features insights from experts on trends and treatments in the ongoing battle against drug and alcohol abuse. This documentary consists of nine segments that focus on case studies and cutting-edge treatments that challenge traditional beliefs about addiction.

On May 24, 2000, the historic Ryman Auditorium was booked to offer Nashvillians an evening of sublime beauty. Label executives and soundtrack producers so loved the music of O Brother, Where Art Thou? that they brought it to life as a benefit concert for the Country Music Hall of Fame. Filmmakers Joel and Ethan Coen loved it so much that they hired famed documentary filmmaker D.A. Pennebaker to record the show for posterity. The concert that unfolded that night was one of the greatest musical moments in the annals of Music City. Performers: John Hartford, Alison Krauss, Emmylou Harris, Gillian Welch, Chris Thomas King, The Cox Family, Fairfield Four, Union Station, Colin Linden, The Nashville Bluegrass Band, The Peasall Sisters, Ralph Stanley, David Rawlings, The Whites.

A documentary portrait of the backstage efforts to stage the play Moon Over Buffalo on Broadway.

Still one of the most famous rock festivals of all time, Monterey Pop brought together much of the music that was striking chords with young people all over America- some of the talent that had been obscure or small time in the US (Otis Redding and Jimi Hendrix), while others were huge smash bands (The Who, Simon & Garfunkel, Mamas and the Papas), not to mention a breakthrough performance for Ravi Shankar. With this accompaniment to the feature film, which was released twenty years or so before this, Hendrix and the Experience brought their sound for the first time after being the cult favorites in the UK. It's not a long concert, but it can certainly be counted as one of his most notorious.
There were allegations, which perhaps could or could not be true (I haven't read any biographies about the concert, but I heard the rumors), that Hendrix was on acid during the set. Whatever he was on or wasn't on, the songs that come through (filmed with superb documentary detail by DA Pennebaker, with assistance from Albert Maysles) are none-the-less mesmerizing. Aside from what has been played over and over to show the insane magnitude of Hendrix (burning his guitar after a crazed rendition of "Wild Thing"), there's also a turn of "Like a Rolling Stone", "Hey Joe", and a beautiful bit with "The Wind Cries Mary". There could've been more in the way of interviews, but as it is, Jimi Plays Monterey is a fine little companion piece to the film.

Live at Woodstock, Jimi Hendrix’s headlining appearance at the most famous festival in rock music history, is rivaled only by his set at Monterey Pop for sheer legendary status. But the two are very different. The rock guitarist was a virtual unknown in America when he delivered his literally incendiary performance at Monterey in 1967. A little more than two years later he was an established star, picked to close this mammoth three-day show (he was slated to appear on Sunday night, but weather and various snafus pushed that to Monday morning). Introduced as the Jimi Hendrix Experience, Hendrix quickly corrects that to Gypsy Sun and Rainbows, with original drummer Mitch Mitchell and new bassist Billy Cox augmented by two percussionists and a second guitarist (all three are for the most part inaudible, subsumed in the great sonic wash of Hendrix’s wailing guitar and Mitchell’s thrashing drums). The music had changed, too. Hendrix had started moving away from the format of short, poppy songs with the Electric Ladyland album, and while he still plays "Purple Haze," "Foxey Lady," and "Fire," much of the emphasis in this lengthy set is on extended jamming. Not all of it works, but when it does--as on "Spanish Castle Magic" and a sped-up "Voodoo Child (Slight Return)," which leads into the feedback-drenched re-imagining of "The Star-Spangled Banner"--the performance takes off. Little more than a year later, Jimi Hendrix, still regarded as the greatest rock guitarist ever, would be dead. --Sam Graham