"Hype !" est un documentaire réalisé par Doug Pray couvrant la croissance et la surexposition de la scène musicale et la popularité du rock grunge de Seattle du début au milieu des années 1990 aux États-Unis.
Un documentaire sur Z Channel, l'une des premières chaînes câblées payantes des États-Unis, et son responsable de la programmation, Jerry Harvey. Lancée en 1974, cette chaîne basée à Los Angeles a proposé une programmation éclectique de films qui est devenue un exemple parfait de la puissance inexploitée de la télévision par câble.
The film is a celebration of the casting profession, highlighting its previously unsung role in film history while also serving as an elegy to the lost era of the New Hollywood. It focuses on casting pioneer Marion Dougherty, an iconoclast whose exquisite taste, tenacity and gut instincts brought a new kind of actor to the screen that would mark the end of the old studio system and help to usher in this revolutionary new period. The film draws a line through the last half century to show us the profession’s evolution from studio system type-casting to the rise of large ensemble films populated with unique and diverse casts.
Featured in the documentary are stories about New Orleans' rebuilding efforts in the aftermath of Hurricane Katrina, including the shuttering and demolition of four public housing projects in the city. The documentary also goes into the story of how the Federal Bureau of Investigation looked into allegations of brutality and cover-ups within the New Orleans Police Department.
Filmed over ten years, this controversial documentary follows five roommates trying to make it in Hollywood who face the unexpected consequences of fame.
The proceedings of a Paris courtroom are the grist for this documentary. Drawn from over 200 appearances before the same female judge, the director chooses a dozen or so varied misdemeanor and civil hearings to highlight the subtle details of human behaviour. In the process he draws attention to issues of guilt, innocence, policing and ethnicity in France.
The film begins in 2009 and opens with aerial shots of Cairo's geometrical gridlock, while Handel's Water Music plays seamlessly in the background. The serenity is quickly broken, however, by a series of ground-level shots of bumper to bumper traffic, shouting taxi drivers, and an endless symphony of car horns. Amidst this mélange of 14 million vehicles, it appears that not even the traffic police understand how it all works. Yet through a series of comical behind the wheel interviews, it becomes clear that the array of sounds and gestures represents an ongoing dialogue between the city's 20 million residents. However, the film also touches upon the city's darker side. Corruption is rampant and despite residents' crafty work-arounds, the situation is without question out of control and getting worse. One resident describes crossing Cario's streets, many of which have eight or more "lanes", as a giant game of Frogger. A more poignant moment comes when a long-time American resident of Cairo recounts how his daughter, 18, was struck and killed by a bus.
Featuring concert footage of Los Angeles punk bands and interviews both with band members, the publishers of Slash fanzine, and with the punks who made up their audience, the film offers a look into a subculture that was largely ignored by the rock music press of the time.
Le film suit pendant une année la lutte contre la violence dans les quartiers sud de Chicago, avec l'introduction du concept de « Violence Interrupter ».