Retrospective: Looking Back at the Wall

A concert film that the former Pink Floyd singer-songwriter made on various tour dates between 2010 and 2013, when he was playing his former group's 1980 double-album in its entirety.

This film traces the path Floyd took after the recording of the Animals album - an era when cracks in the band first started to show - and brings the strange story of the group and the intense relationship between Waters and Gilmour right up to date with the unexpected collaboration of these two maverick musicians at a 2010 charity event. Featuring numerous interviews.

Television documentary about the legendary Abbey Road Studios in London, England.

After a break of nine years, David Gilmour steps back into the spotlight with a number one album and world tour. This film is an intimate portrait of one of the greatest guitarists and singers of all time, exploring his past and present. With unprecedented access, the film crew have captured and detailed key moments in David Gilmour's personal and professional life that have shaped him both as a person and a musician.

The story of Pink Floyd told by deejay Tommy Vance and actor Graham McTavish with the four members talking about the past, including about Syd Barrett.

A behind-the-scenes look at Roger Waters and Alan Parker’s 1982 film, “The Wall”

Decades after first performing there with Pink Floyd, singer-guitarist David Gilmour returned in July 2016 for two concerts in the ancient Italian amphitheatre as part of his Rattle That Lock tour.

A quirky high school girl has to learn that you can't fit friendship into a checkbox.

The concert was filmed progressively over the 'Best of the Best' tour in the spring of 2016 in Germany but the bulk of the material was filmed in the last week of the tour, playing in many great venues including the famous Festhalle in Frankfurt, a venue that Pink Floyd themselves performed 'Animals'. A cinematic approach was taken to produce a film of a concert which we hope will give much enjoyment to the viewer and listener.

Knebworth, 1990 The band's headline set at the Silver Clef Award Winners Concert held at Knebworth House on 30 June 1990. "Shine On You Crazy Diamond" (previously released on Knebworth – The Event 1990 VHS) "The Great Gig in the Sky" "Wish You Were Here" "Sorrow" "Money" "Comfortably Numb" "Run Like Hell" (previously released on Knebworth – The Event 1990 VHS)

Pink Floyd - The Later Years: Venice Concert 1989 & Knebworth Concert 1990

Pink Floyd - The Later Years Vol 4: Knebworth Concert 1990

Since many years Echoes, the band around guitarist and singer Oliver Hartmann (Avantasia, Hartmann, ex-Rock Meets Classic), is well known as frontman of the most popular and successful German Pink Floyd Tribute meanwhile touring across Europe and far beyond the borders of Germany. With their successful live DVD/CD "Barefoot To The Moon" (No. #20 at the Media Control Charts Germany 2015), recorded and arranged with pure acoustic instruments and supported by a four-piece string ensemble from Prague, the band has impressively shown that the original's great heritage can be interpreted in an interesting, inspiring and absolutely creative way. Now in early 2019, the group will release their successor and electrical continuation entitled 'Live From The Dark Side (A Tribute To Pink Floyd)", recorded live at 'Rock Of Ages Festival 2018' in Rottenburg-Seebronn, Germany.

Can you walk barefoot to the dark side of the moon? Echoes prove it with their acoustic show “Barefoot To The Moon”. The band, led by exceptional guitarist and singer Oliver Hartmann (Rock Meets Classic, Avantasia), is supported by a string quartet from the Bohemian Symphony Orchestra in Prague. The complex songs of the British rock giants are carefully stripped down and reduced to their essential structures with spartan, sometimes unusual instrumentation. The unique magic of this music is by no means lost, on the contrary. Familiar sounds change color and previously hidden nuances emerge. In its quasi “naked” state, a fascinating fragile beauty is revealed that has never been heard before. In short: Echoes expose the essence of Pink Floyd. Recorded at Stadttheater Aschaffenburg/Germany in December 2014

Looks at the emergence of lesbian feature filmmakers in the U.S. and how they produce films on a small budget. Interviews with directors Rose Troche (Go Fish); Sharon Pollack (Everything Relative); and Alex Sichel (All Over Me) as well as producer Dolly Hall, executive producer Christine Vachon and writers Sylvia Sichel and Guinevere Turner.

We all know Jack Nicholson the actor. But few know the history of Jack Nicholson the screenwriter, and especially Jack Nicholson the director. Nicholson's lifelong friend, filmmaker Henry Jaglom, reflects on the icon's behind-the-camera career, while film historian/filmmaker Daniel Kremer presents and analyzes the full scope of that history.

Onboard the Panerai container ship, the young sailor Rudmer dreams of becoming a captain himself one day.

In 1968, filmmaker Jules Dassin collaborated with Ruby Dee and civil rights activist Julian Mayfield on Uptight, a "politically radical" film noir about Black revolution, framed against the April 4 assassination of Dr. Martin Luther King, Jr. Director, producer and co-writer Dassin, a blacklisted American exile, returns to his birth country after having gone into a second exile from his adopted country Greece, then makes a film that roiled the powers that be (or "powers that were") in the U.S. government. The material so upset the FBI that they closely monitored the production up until the eve of its premiere, recruiting crew members as moles. The irony is rich, as Uptight was a remake of John Ford's The Informer (1935) and dealt with a turncoat character who engineers the assassination of a revolutionary leader. How is Uptight both an outlier (or anomaly) as well as simultaneously integral to the career of Jules Dassin?

Otto Preminger wasn't only one of the most famous directors of classic Hollywood. He was a presence, a brand, and the only one who rivaled Hitchcock as the greatest showman and self-promoter of his generation. But toward the end of his career, his attempts to "get with the times" (with films like Skidoo, Tell Me That You Love Me Junie Moon, Such Good Friends, Hurry Sundown, and others) shocked, alienated, and outright repelled audiences. What happened to Otto and how can one best appreciate and enjoy those confounding later works?

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