A documentary about the legendary creature, Bigfoot, with emphasis on him being the missing link.

A notorious mondo film depicting unbelievable and bizarre rituals, animal killing and cruelty, and people being killed and eaten, all by either animals or humans against each other or themselves.

The director presents takes and scenes filmed on location in Africa for a film-that-never-was, a black Oresteia.

Collage film about the history of trains set to music.

Paris is a monstrously inhuman cityscape, in which cars, buses, crowds, and unceasing noise combine to smother any decent and delicate human activity. People and flowers attempt to survive in a city that seems ready to explode from an over-heated mixture of traffic and noise.

In 39 interviews with actors and actresses, writers, producers and staff members, interspersed with film excerpts and stills, Shindō recounts the life and career of his friend and mentor Mizoguchi.

A documentary exploring the legends of vampires, using books, paintings and early films on the subject.

In the early 1970s, Toronto filmmaker Keith Lock moved to Buck Lake, where members of the Toronto art scene were undertaking an experiment in communal living. Lock filmed the achievements and daily rituals of his fellow communards, his camera bearing witness as a community assembled and dispersed. The resulting film uses poetic strategies, including logograms and other graphic disruptions, to extend its themes of renewal and rebirth, and to mark the encounter between reason and imagination, the concrete and the abstract. A landmark work of Canadian underground cinema, a film diary with mystic and symbolic overtones.

An intimate portrait of the small shops and shopkeepers of the Rue Daguerre in Paris, a picturesque street that has been the filmmaker’s home for more than 50 years.

Period music, film clips and newsreel footage combined into a visual exploration of the American entertainment industry during the Great Depression.

An exotic world of eroticism, witchcraft, masochism and strange secret places.

A documentary ostensibly about Anna, a young drug addict taken off the streets by one of the filmmakers. Through her they attempt to explore the social issues from their hippie perspective, instead they create a revealing, uncomfortable self-portrait and inadvertently raise questions about documentary film-making.

Ali in Wonderland unveils the condition of immigrant workers in Paris in the 1970s. It is a cry of anger against exploitation and racism, uncompromisingly raising the role of the French state, the media, capitalism, and colonization in this system of domination that crushes those who suffer it. In this experimental essay on the condition of Algerian migrants in Giscard's France in the mid-1970s, every aesthetic choice has a precise and legible political motivation and gives body and voice to a figure completely absent from the experimental cinema of the time: that of the immigrant worker. Abouda is one of the children of immigrants seen in the film, and not a simple activist serving a cause, which is why the emotion of her experimental gesture, which she throws in the viewer's face, springs from a ferocity inscribed in her body, from an insatiable anger that inhabits her gaze.

A tongue-in-cheek documentary that goes "behind the scenes" during the production of Federico Fellini's film "Amarcord" (1973).

A study of the psychology of a champion ski-flyer, whose full-time occupation is carpentry.

Various MGM stars from yesterday present their favorite musical moments from the studio's 50 year history.

B.B. King, Joan Baez and other great artists gather for a show at Sing Sing Prison.

Louis Malle presents his entertaining snapshot of the comings and goings on one street corner in Paris.

Penthesilea, the first of six films made by Laura Mulvey and Peter Wollen, traverses thousands of years to look at the image of the Amazonian woman in myth. It asks, among other questions, is the Amazonian woman a rare strong female image or is she a figure derived from male phantasy? The film explores the complexities of such questions, but does not seek any concrete answers.

Filmmaker Martin Scorsese interviews his mother and father about their life in New York and family history back in Sicily.

Many times during his presidency, Lyndon B. Johnson said that ultimate victory in the Vietnam War depended upon the U.S. military winning the "hearts and minds" of the Vietnamese people. Filmmaker Peter Davis uses Johnson's phrase in an ironic context in this anti-war documentary, filmed and released while the Vietnam War was still under way, juxtaposing interviews with military figures like U.S. Army Chief of Staff William C. Westmoreland with shocking scenes of violence and brutality.

Filmmaker Barbet Schroeder shows the Ugandan dictator meeting his Cabinet, reviewing his troops, explaining his ideology.

When his wife, the outspoken feminist Miyuki Takeda, announced that she was leaving him in order to find herself, Kazuo Hara began this raw, intensely personal documentary as a way to both maintain a connection to the woman he still cared for and to make sense of their complex relationship. Granted at times shockingly intimate access to Miyuki’s personal life, Hara follows her wayward journey toward liberation as she explores her sexuality with both men and women, becomes pregnant and raises a family as a single mother, and grows increasingly disenchanted with the constraints of traditional social structures.

Animals Are Beautiful People (aka Beautiful People) is a 1974 nature documentary about the wildlife in Southern Africa. It was filmed in the Namib Desert, the Kalahari Desert and the Okavango River and Okavango Delta. It was produced for cinema and has a length of slightly more than 90 minutes.