Une étude approfondie, à travers plus de 200 classiques modernes, qui se penche sur le phénomène du teen-movie. Le film se concentre sur la période allant de 1995 à 2004 et revisite des comédies telles que Clueless, Dangereuse Séduction ou encore Lolita Malgré moi.
Centré sur un entretien où Claude Lanzmann revient sur sa vie et sur la réalisation de Shoah - les choix initiaux, les embûches, les dangers, la recherche de moyens pour mener à bien cette entreprise, l’épuisement…, Adam Benzine donne aussi à voir des fragments des rushes de Shoah.
The documentary mainly focuses on the connection between events in the United States during the last century and the attraction that horror films have to moviegoing audiences. Filmmakers, producers, and historians such as John Carpenter, George A. Romero, Tom McLoughlin, and Mick Garris examine and give their opinions on such links between occurring events and horror movie themes. The discussion first begins with the connections found between World War I and films featuring human-like monsters and ideas, such as Dracula, Frankenstein, and The Seventh Victim. The topic then moves on to World War II and the Holocaust, and the widespread atomic paranoia associated with B movies of the 1950s like Tarantula and Creature with the Atom Brain.
Rob Kuhns interviews a range of authors, critics, and filmmakers about the impact, legacy, and enduring popularity of Night of the Living Dead. Romero describes the film's background, production, and distribution, including how it accidentally fell into the public domain. Fessenden describes Night of the Living Dead 's aspects of postmodernist film, including an early commentary on horror films inside of a horror film – Johnny's taunting of his sister, Barbra, in the opening graveyard scene. Hurd cites the film as an influence on her own work as executive producer of The Walking Dead. Mitchell, among other things, describes how the film presents a strong Black male as the protagonist of a film without resorting to racial commentary. The final scene, in which Duane Jones' character, Ben, is killed by a posse is compared to historical footage of 1960s lynch mobs and police brutality, and scenes of violent zombie attacks are compared to footage from Vietnam broadcast on television.
In 2014, a group of miners try to mine as much "smyrigli", or emery, as possible in the mountain of Naxos. They are only able to mine two or three times every year. Apeiranthos, their community on the island, is dwindling due to its dwellers transferring to other more beneficial places in Greece.
The documentary looks at the independent film distribution company The Shooting Gallery, which experienced a rise in popularity due to their distribution of films like You Can Count on Me and Laws of Gravity. Ransick looks at the company starting with their start in the early nineties to their crash in later years.
The film features LGBT home movies, videos, and other archival footage from the 1930's to 1980's, and stresses the importance of finding and restoring these films and videos.