Casey Spooner

Rose McGowan, artist and activist, documents the work being done to spread her message of “bravery, art, joy and survival.”

Filmmaker Drew Thomas brings California's popular Coachella Valley Music and Arts Festival to the screen with a different kind of musical documentary that not only showcases performances by some of the hottest acts to take the stage, but offers interviews with such musical icons as Beck, Joshua Homme, Mos Def, and Perry Farrell as well. From English icon Morrissey's performance at the inaugural Coachella Festival back in 1999 to Canadian indie rockers the Arcade Fire's electric 2005 set, the musical acts featured here run the gamut from hip-hop to alternative and virtually everything in between. Other artists featured include the Pixies, the Flaming Lips, Kool Keith, Radiohead, Saul Williams, and Squarepusher.

A girl's obsession with a rock star ends with an unfortunate choice.

White Homeland Commando takes the familiar terrain of network action drama and tilts the playing field. Reminiscent of today's popular reality-based cop shows, White Homeland Commando offers a straightforward story: four members of a special police unit investigate and infiltrate a New York-based white supremacist organization. But that is where the commonplace ends. The teleplay is shot and edited in a highly textured visual style, the colors are subdued yet somehow garish, and the sound is deliberately just out of sync with the speaker's lips. Occasional static combines with jumps in the plot — the editing is reminiscent of a television viewer flipping channels.

DUST is the story of an eccentric family in crisis. Unable to move forward or functionally communicate, three change-averse siblings collide with their older brother and their own myopic worldview with comic and tragic results. The film follows the siblings Lynn, Baker and Margaret Marie as they cope with the news that their oldest brother Coke plans to move into the family home with his new wife, Patty, a woman the other siblings cannot stand. All four siblings find themselves confronted with their inability to cope with life.

Art dealer Salvatore Viviano and director Angela Christlieb embark on a search for the lost artist collective Gelitin, which since the 1990s has shattered the borders of "good taste" again and again with extravagant actions and installations. Interviews with old companions and artist friends in the U.S., Europe, and Asia are linked with anarchically montaged Gelitin archive material: intense, transgressive, experimental, gaudily colorful, funny, and virulent.

Experience a visceral, reverse-chronological thriller that confronts the devastating reality of gun violence. The story opens in the grim aftermath of a horrific mass shooting inside a vibrant nightclub, revealing a scene of unimaginable tragedy. Elsewhere, a distressed woman furiously types at a typewriter, desperate to make sense of the bloodshed. As time rewinds, we are pulled backwards through the chaos, witnessing the exact, terrifying moments the gunman opens fire on an innocent crowd. Moving further back into the past, the absolute horror is replaced by sheer euphoria—we see the very same victims safely getting ready in their homes, laughing, and ultimately losing themselves to the joy of the dance floor, completely unaware of the looming doom. A powerful, gut-wrenching tale of innocence shattered, told backwards to force us to confront the joyful beginnings that were violently stolen.

Artists, producers and journalists talk about the new Electro Scene that took over New York's nightlife in the early 2000's.

This is the tale of three artists who navigate the fashion world: from the front rows at shows to their tiny hotel rooms, constantly on the move, they struggle to thrive in social media culture in a decaying world which is now forced to reinvent itself.

In The Wooster Group’s HAMLET, Shakespeare’s classic tragedy is re-imagined by mixing and repurposing Richard Burton’s 1964 Broadway production, directed by John Gielgud. The Burton production was recorded in live performance from 17 camera angles and edited into a film that was shown as a special event for only two days in nearly 1,000 movie houses across the U.S. The idea of bringing a live theater experience to thousands of simultaneous viewers in different cities was trumpeted as a new form called “Theatrofilm,” made possible through “the miracle of Electronovision.” The Wooster Group attempts to reverse the process, reconstructing a hypothetical theater piece from the fragmentary evidence of the edited film. We channel the ghost of the legendary 1964 performance, descending into a kind of madness, intentionally replacing our own spirit with the spirit of another.