1981
The Los Angeles punk music scene circa 1980 is the focus of this film. With Alice Bag Band, Black Flag, Catholic Discipline, Circle Jerks, Fear, Germs, and X.
2022
On his deathbed, His Majesty Alfredo, King without a crown, is taken back to distant youth memories from the time when he dreamt of becoming a fireman. His encounter with instructor Afonso from the fire brigade, opens a new chapter in the life of the two young men devoted to love and desire, and the will to change the status quo.
2023
Set 1: Cassidy(Bob Weir song) Brown-Eyed Women(Grateful Dead cover) I Need a Miracle(Grateful Dead cover) Here Comes Sunshine(Grateful Dead cover) Tennessee Jed(Grateful Dead cover) China Doll(Grateful Dead cover) Viola Lee Blues(Cannon’s Jug Stompers cover) The Music Never Stopped(Grateful Dead cover) Set 2: New Speedway Boogie(Grateful Dead cover) Dark Star(Grateful Dead cover) (verse 1) (>) The Other One(Grateful Dead cover) (verse 1) (>) Terrapin Station(Grateful Dead cover) (>) Drums(Grateful Dead cover) (>) Space(Grateful Dead cover) (> Jam (theme mashing up… more ) Black Peter(Grateful Dead cover) Casey Jones(Grateful Dead cover) One More Saturday Night(Bob Weir song)
Set 1: Samson and Delilah([traditional] cover) Cold Rain and Snow(Obray Ramsey cover) Jack Straw(Grateful Dead cover) Althea(Grateful Dead cover) Comes a Time(Jerry Garcia cover) Mr. Charlie(Grateful Dead cover) He's Gone(Grateful Dead cover) Going Down the Road Feeling Bad([traditional] cover) Set 2: They Love Each Other(Jerry Garcia cover) Playing in the Band(Bob Weir song) Help on the Way(Grateful Dead cover) (>) Slipknot!(Grateful Dead cover) Fire on the Mountain(Grateful Dead cover) Drums(Grateful Dead cover) (>) Space(Grateful Dead cover) (> 'Playing in the Band' reprise) The Other One(Grateful Dead cover) (verse 2) Standing on the Moon(Grateful Dead cover) Not Fade Away(The Crickets cover) Encore: The Weight(The Band cover) Ripple(Grateful Dead cover)
2016
The daughter of a preacher becomes the centerpiece for a conservative political campaign but finds herself falling in love with a woman.
'SIGN' is a short film that tells, through vignettes, music, and sign language, the story of a relationship between Ben, a hearing man, and Aaron, who is deaf.
1998
Almost a decade since larger-than-life glam-rock enigma Brian Slade disappeared from public eye, an investigative journalist is on assignment to uncover the truth behind his former idol.
2012
A Biography documentary going behind the scenes of the hit show 'Glee,' featuring interviews with creators and a handful of cast members as well as never-before-told stories from its conceptual beginning through the casting process.
Tonoin Kei, a musical genius, becomes the new conductor of Fujimi, clashing with the group's leader, Morimura Yuuki, who is unaware of Kei's feelings for him.
2006
Mélanie Prouvost, a ten-year-old butcher's daughter, is a gifted pianist. That is why she and her parents decide that she sit for the Conservatory entrance exam. Although Mélanie is very likely to be admitted, she unfortunately gets distracted by the president of the jury's offhand attitude and she fails. Ten years later, Mélanie becomes her page turner, waiting patiently for her revenge.
1999
"Kyoei Branko" was a one day performance in Club Asia, Tokyo, very soon after "Manabiya Xstasy."
2014
Invited by the conductor Premil Petrovic to stage Arnold Schoenberg’s Pierrot Lunaire, a musical theater work from 1912 based on the poems of Albert Giraud, LaBruce transposed a strange and tragic episode of true crime onto the composition. Complementing the original atonal score is a narrative about a trans man who is outed by his girlfriend’s father and forbidden from seeing the young woman again. Crestfallen, the protagonist decides to prove the fact of his manhood by castrating a taxi driver and then revealing his newly transplanted member to the two of them. This story, which for LaBruce “serves as a kind of allegory for all gender radicals and outcasts driven to extremes by the disapproval and hostility of the dominant order,” is rendered in a visual style that nods to the era of Schoenberg’s melodrama. LaBruce cheekily appropriates the formal vocabulary of silent cinema with black-and-white photography, irises, and intertitles like “A cock, a cock, my kingdom for a cock!”
