Tom Luddy

Invasion of the Body Snatchers

Philip Kaufman

Donald Sutherland, Brooke Adams

Matthew Bennell notices that several of his friends are complaining that their close relatives are in some way different. When questioned later they themselves seem changed, as they deny everything or make lame excuses. As the invaders increase in number they become more open and Bennell, who has by now witnessed an attempted 'replacement', realises that he and his friends must escape or suffer the same fate.

Gegenschuss - Aufbruch der Filmemacher

Laurens Straub, Dominik Wessely

Rudolf Augstein, Heinz Badewitz

Oncle Yanco

Agnès Varda

Jean Varda, Tom Luddy

While in San Francisco for the promotion of her last film in October 1967, Agnès Varda, tipped by her friend Tom Luddy, gets to know a relative she had never heard of before, Jean Varda, nicknamed "Yanco". This hitherto unknown uncle lives on a boat in Sausalito, is a painter, has adopted a hippie lifestyle and loves life. The meeting is a very happy one.

Electric Boogaloo: The Wild, Untold Story of Cannon Films

Mark Hartley

Molly Ringwald, Дольф Лундгрен

A documentary about the rise and fall of the Cannon Film Group, the legendary independent film company helmed by Israeli cousins Menahem Golan and Yoram Globus.

A Brief History of Errol Morris

Kevin Macdonald

Errol Morris, Werner Herzog

This film tells the fascinating story of one of the most critically acclaimed careers in independent documentary film making in recent cinema history. This comprehensive overview of Morris' career includes clips of all his important films as well as interviews with collaborators such as Werner Herzog and Phillip Glass.

Werner Herzog Eats His Shoe

Les Blank

Werner Herzog, Tom Luddy

Directors Werner Herzog and Errol Morris make a bet which results in Herzog living up to his promise that he would eat his shoe if Errol Morris ever completed the film Gates of Heaven.

1 P.M. (One Parallel Movie)

D. A. Pennebaker, Jean-Luc Godard

Rip Torn, Tom Hayden

Lighter and livelier than the films Jean-Luc Godard had made in France, his U.S. collaboration with Direct Cinema documentarian D. A. Pennebaker was meant to be One A.M., as in “one American movie”; but Godard quit the project and the U.S., where to his dismay he discovered that revolution wasn’t imminent, and Pennebaker edited Godard’s material, to which he and Richard Leacock even added a bit more, releasing the result as One P.M., as in “one parallel movie.” It’s a stunning mixture of cinéma-vérité, political theater, and interviews of key sixties figures.