Liquid Crystal Vision (2002) is a 60-minute cult documentary exploring the spiritual and cultural roots of the global Goa trance movement. Directed by Omananda, the film features interviews with pioneers like Raja Ram and Goa Gil, featuring footage from Goa, India, and global parties, highlighting themes of dance as a, "global peace prayer," and personal evolution.
Features insight from key figures, including Goa Gil, Raja Ram, System 7, Youth, Swami, and Alex Grey.
Features music by artists such as Shpongle, Irresistible Force, Banco De Gaia, Space Tribe, and Nick Doof and includes scenes from Goa (India), Portugal, Cambodia, Laos, and Burning Man.
The film explores the freedom to dance, the psychedelic experience, and the connection between ancient rituals and modern technology.
"Psychedelic Zion" follows the ups and downs of three rave organizers who operate under the banner "Peace and Love Production." Filmed over the course of two years, director Isri Halpern follows the trio from their first ecstatic parties on the hillsides of the Galilee, into the living rooms of their religious, working-class families, and deep into the fray of their eventual and sometimes violent clashes with the police. In the midst of a public furor, they take their case to the government and the Supreme Court, fighting for the right to live out their psychedelic dreams. Full film in Hebrew with English subtitles.
A documentary from 1995, and therefore one of the earliest attempts to document the scene that centered on Goa in the 1990s. It focuses on the movements between Isreal and India, which was huge when I was in India in the 90s. The thing is, the Isrealis I met were not interested in the politics of the region. In fact they were against the whole bloody thing. But they had no choice. Isreal is a machine that eats its own young. The Trance scene was a higher plane. Here is a window on it.
An 18th-century drama detailing the scandalous life of Lady Seymour Worsley. Starring: Natalie Dormer, Jessica Gunning, Aneurin Barnard.
Lady Worsley was rumoured to have had 27 lovers. In November 1781 she ran off with Bisset, a captain in the South Hampshire militia, who had been Worsley's close friend and neighbour at Knighton Gorges on the Isle of Wight. In February 1782 Worsley brought a criminal conversation case against Bisset for £20,000 (equivalent to £2,918,500 in 2025). Lady Worsley turned the suit in her favour with scandalous revelations and the aid of past and present lovers; and questioned the legal status of her husband. She included a number of testimonies from her lovers and her doctor, William Osborn, who related that she had suffered from a venereal disease which she had contracted from the Marquess of Graham. It was alleged that Worsley had displayed his wife naked to Bisset at the bath house in Maidstone. This testimony destroyed Worsley's suit and the jury awarded him only one shilling (2015: £5.28) in damages.
Bisset eventually left Lady Worsley when it became apparent that Worsley was seeking separation rather than divorce, meaning Seymour could not remarry until Worsley's death. Seymour was forced to become a professional mistress or demimondaine and live off the donations of rich men in order to survive, joining other upper-class women in a similar position in the New Female Coterie. She had two more children: another by Bisset after he left her in 1783, whose fate is unknown; and a fourth, Charlotte Dorothy Hammond (née Cochard), who she sent to be raised by a family in the Ardennes.
Lady Worsley later left for Paris in order to avoid her debts. In 1788, she and her new lover, the biracial composer, conductor and champion fencer Joseph Bologne, the Chevalier de Saint-Georges, returned to England, and her estranged husband entered into articles of separation, on the condition she spend four years in exile in France. Eight months before the expiration of this exile, she was unable to leave France because of the events of the French Revolution and she was probably imprisoned during the Reign of Terror, meaning she was abroad on the death of her and Worsley's son in 1795. In early 1797, she returned to England, and she then suffered a severe two-month illness. Owing to the forgiveness of her mother, her sister and her sister's husband, the Earl of Harrington, she was then able to move into Brompton Park, her previous home, but which the laws on property prevented her from officially holding.
On Worsley's death in 1805, her £70,000 jointure reverted to her and just over a month later, on 12 September, at the age of 47 she married 26-year-old newfound lover John Lewis Cuchet (d. 1836) at Farnham. Also that month, by royal licence, she officially resumed her maiden name of Fleming, and her new husband also took it. After the armistice of 1814 ended the War of the Sixth Coalition, the couple moved to a villa at Passy, Paris where she died in 1818, aged 59. She is buried at the Père Lachaise Cemetery in Paris.
Cultural theorist superstar Slavoj Žižek re-teams with director Sophie Fiennes (The Pervert's Guide to Cinema) for another wildly entertaining romp through the crossroads of cinema and philosophy. With infectious zeal and a voracious appetite for popular culture, Žižek literally goes inside some truly epochal movies, all the better to explore and expose how they reinforce prevailing ideologies. As the ideology that undergirds our cinematic fantasies is revealed, striking associations emerge: What hidden Catholic teachings lurk at the heart of The Sound of Music? What are the fascist political dimensions of Jaws? Taxi Driver, Zabriskie Point, The Searchers, The Dark Knight, John Carpenter's They Live ("one of the forgotten masterpieces of the Hollywood Left"), Titanic, Kinder Eggs, verité news footage, Beethoven's "Ode to Joy" and propaganda epics from Nazi Germany and Soviet Russia all inform Žižek's stimulating, provocative and often hilarious psychoanalytic-cinematic rant.
Celebration at Big Sur is a film of the 1969 Big Sur Folk Festival in Big Sur, California, featuring Crosby, Stills, Nash and Young, Joan Baez, Joni Mitchell and others.
Songs:
"I Shall Be Released" – Joan Baez
"Mobile Line" – John Sebastian with Stephen Stills offstage
"Song for David" – Joan Baez
shown rehearsing offstage, with stage performance of same song cut in
"All of God's Children Got Soul" – Dorothy Combs Morrison and the Combs Sisters
"Sea of Madness" – CSNY
"4 + 20" – Stephen Stills solo performance
Stephen Stills introduces this number discussing his interaction with a heckler in the previous scene
"Get Together" – Joni Mitchell with Crosby, Stills & Nash and John Sebastian
"Put a Little Love in Your Heart" – Dorothy Combs Morrison and the Combs Sisters
incomplete
non-musical footage of nude sauna, audience happenings
"Swing Down Sweet Chariot" – various
offstage, incomplete
"Rainbows All Over Yours Blues" – John Sebastian
"Woodstock" – Joni Mitchell (playing piano)
non-musical footage of self-identified "freak" with Woodstock-themed bus
"Red-Eye Express" – John Sebastian with Stephen Stills
"Changes" – Mimi Fariña and Julie Payne with Stephen Stills
incomplete
"Malagueña Salerosa" – Carol Ann Cisneros
"Rise, Shine, and Give God the Glory" – The Struggle Mountain Resistance Band
incomplete
"Down By the River" – CSNY
incomplete, over 7 minutes
folk musician improvising outside the festival
"Sweet Sir Galahad" – Joan Baez
"Oh Happy Day" – Dorothy Combs Morrison and the Combs Sisters with Joan Baez
opens with Joan Baez rehearsing same number with Dorothy Combs Morrison
Directed by – Baird Bryant, Johanna Demetrakas
Produced – Ted Mann, Carl Gottlieb
Cinematography – Baird Bryant, Johanna Demetrakas, Gary Weis, Peter Smokler, Joan Churchill
At the age of 14, Nick Broomfield met Brian Jones by chance on a train. Brian was at the height of his success with the world at his feet - yet six years later he would be dead. The Stones and Brian Jones looks at the relationships and rivalries within The Rolling Stones in those formative years. It explores the iconoclastic freedom and exuberance of the 1960s, a time of intergenerational conflict and sexual turmoil which reflects on where we are today. Featuring revealing interviews with all the main players, and unseen archive released for the first time, The Stones and Brian Jones explores the creative musical genius of Jones, key to the success of the band, and uncovers how the founder of what became the greatest rock'n'roll band in the world was left behind in the shadows of history.
F for Fake (French: Vérités et mensonges, "Truths and lies") is a 1973 docudrama film co-written, directed by, and starring Orson Welles who worked on the film alongside François Reichenbach, Oja Kodar, and Gary Graver. Initially released in 1973, it focuses on Elmyr de Hory's recounting of his career as a professional art forger; de Hory's story serves as the backdrop for a meandering investigation of the natures of authorship and authenticity, as well as the basis of the value of art. Far from serving as a traditional documentary on de Hory, the film also incorporates Welles's companion Oja Kodar, hoax biographer Clifford Irving, and Orson Welles as himself. F for Fake is sometimes considered an example of a film essay.
In addition to the 88-minute film, in 1976, Welles also shot and edited a self-contained nine-minute short film as a "trailer", almost entirely composed of original material not found in the main film itself. Here is that trailer:
Magician: The Astonishing Life and Work of Orson Welles looks at the remarkable genius of Orson Welles on the eve of his centenary - the enigma of his career as a Hollywood star, a Hollywood director (for some a Hollywood failure), and a crucially important independent filmmaker. Orson Welles's life was magical: a musical prodigy at age 10, a director of Shakespeare at 14, a painter at 16, a star of stage and radio at 20, romances with some of the most beautiful women in the world, including Rita Hayworth. His work was similarly extraordinary, most notably Citizen Kane, (considered by many to be the most important movie ever made), created by Welles when he was only 25. In the years following Citizen Kane, Welles's career continued to change as he made film after film (some never finished, many dismissed) and acted in other projects often to earn money in order to keep making his own films. Magician features scenes from almost every existing Welles film, from Hearts of Age, (which he made in a day when he was only 18 years old) to rarely-seen clips from his final unfinished works like The Other Side of the Dream, The Deep, and Don Quixote, as well as his television and commercial work
In September 1980, Iraq invades Iran. Iraqi leader Saddam Hussein is convinced that now is the time to strike, since Iran is still shaken by its Islamic Revolution, and he expects victory within weeks. Instead, the conflict will last 8 years, cost hundreds of thousands of lives , threaten world oil markets, and draw the US into the Persian Gulf for good. It’s the last total war of the 20th century.
If you want an indication of what a land war in Iran might look like. Watch this.....Does nobody remember the Iran-Iraq War? It was 8 years of absolute hell on earth (1980 - 1988). The US funded, armed and trained Iraq. There was no quarter given. It was brutal (think genocide . ethnic cleansing, mass murder, deportation, chemical warfare, enforced disappearance and counterinsurgency). The war caused around 500,000 deaths (excluding numbers from the related Anfal campaign - another 50,000–100,000 dead), making it the deadliest conventional war ever fought between regular armies of developing countries. Most of the present-day leadership in Iran are veterans of the Iran- Iraq War. They have seen things that Trump cannot imagine.
Trump is either bone stupid or insane (maybe both). Iran will fight until the bodies are piled high. But we still have this ridiculous speculation on the part of even so-called progressive media in the West:
"Despite launching the attack on Iran, with Israel, the White House does not seem to have fully anticipated what was likely to follow. Iran had few good military options for fighting back, but attacking US bases, US allies and merchant shipping in the Gulf was the most obvious response – to try to impose costs on the west." - The Guardian
Iran will not surrender until the armed forces (a million people, including the special forces and security forces) are destroyed. It will be brutal in the same ways the 1980 - 88 war was. The Americans have clearly not considered this.
