With a single abortion clinic remaining in the state of Mississippi, the city of Jackson has become ground zero in the nation’s battle over reproductive health-care. Jackson is an intimate portrait of the interwoven lives of three women in this town. Wrought with the racial and religious undertones of the Deep South, the lives of two women are deeply affected by the director of the local pro-life crisis pregnancy center and the movement she represents.
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Through the heart and photographic lens of international photographer Jo-Anne McArthur, we become intimately familiar with a cast of non-human animals. The film follows Jo-Anne over the course of a year as she photographs several animal stories in parts of Canada, the U.S. and in Europe. Each story is a window into global animal industries: Food, Fashion, Entertainment and Research.
A documentary consisting of a series of travelogue vignettes providing glimpses into cultural practices throughout the world intended to shock or surprise, including an insect banquet and a memorable look at a practicing South Pacific cargo cult.
A High Rising Productions documentary on the short-lived craze of Italian cannibal films in the ’70s and ’80s, featuring interviews with Umberto Lenzi, Ruggero Deodato, Sergio Martino, Giovanni Lombardo Radice, and Robert Kerman. Featured on the Grindhouse Releasing Blu-ray for “Cannibal Ferox” in the US, and the upcoming UK Blu-ray for “Zombi Holocaust” by 88 Films.
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Ashrita Furman holds the official record for the most Guinness World Records by one individual, including marks for “Largest Hula Hoop,” “Most Apples Sliced in Mid-Air with a Samurai Sword,” and “Longest Distance Bicycling Underwater.” A health food store owner and devotee of meditation, Furman travels the world creating new categories for record achievement. In The Record Breaker we meet Furman, a singularly driven character, and his merry band of compatriots (including Champ the dog) as he’s about to attempt to climb Machu Picchu on stilts.
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A wilfully offensive band, The Mentors gained infamy for performing in black executioner hoods and spewing cartoonishly racist, homophobic and misogynistic lyrics in the 1980s and ‘90s—but was their use of shock meant to propagate hate or confront it?
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