The Filth and the Fury

A celebration of the Irish punk/poet Shane MacGowan, lead singer and songwriter of The Pogues, that combines unseen archive footage from the band and MacGowan’s family with original animations.

A brief history of the Cuban capital of Havana, backed by a vibrant soundtrack of son cubano, salsa, jazz, rumba, mambo and hip hop. Drawing on archive footage, animations, movie excerpts and interviews with Havana residents, eyewitnesses and experts, Habaneros runs through key moments in the city’s modern history, from the abolition of slavery at the end of the 19th century to the Spanish–American War, and from the dictatorship of General Batista to the revolution of Fidel Castro. The film concludes by wondering what the future holds. Many Havana locals are encouraged by President Obama’s relaxation of sanctions, but much uncertainty remains.

A tongue-in-cheek "behind the scenes" look at the Comic Strip comedy club in the early 1980s, which gave rise to 'The Comic Strip Presents'

We Are Scissor Sisters... And So Are You is the first DVD by the Scissor Sisters, released on November 29, 2004. It contains a full live concert filmed at Brighton Dome in August 2004, featuring backstage footage and extras. It includes the documentary "Return To Oz" (directed by Julien Temple) which tells the story of the Scissor Sisters. There is also a separate 10 minute skit directed by Andy Soup which has the band dressed up as characters from The Wizard of Oz, which also includes "terribly bad acting" as mentioned on their official website.

Jazzin' for Blue Jean is a 20-minute short film featuring David Bowie and directed by Julien Temple. It was created to promote Bowie's single "Blue Jean" in 1984 and released as a video single. The film depicts the adventures of the socially incompetent Vic (played by Bowie) as he tries to win the affections of a beautiful girl by claiming to personally know her favorite rock star, Screaming Lord Byron (also played by Bowie).

A brand new take on the most transformative force in British popular music history.

As the front man of the Clash from 1977 onwards, Joe Strummer changed people's lives forever. Four years after his death, his influence reaches out around the world, more strongly now than ever before. In "The Future Is Unwritten", from British film director Julien Temple, Joe Strummer is revealed not just as a legend or musician, but as a true communicator of our times. Drawing on both a shared punk history and the close personal friendship which developed over the last years of Joe's life, Julien Temple's film is a celebration of Joe Strummer - before, during and after the Clash.

A filming of the 1990 Rolling Stones "Steel Wheels" concert that traveled Europe. This was filmed in the IMAX process, which allows the film to be projected in a size ten times the size of a regular 35mm projected image.

Disc 1: Oh. You Pretty Things, Queen Bitch), Five Years, Starman, John I'm Only Dancing, The Jean Genie, Space Oddity, Drive-in Saturday, Life on Mars?, Ziggy Stardust, Rebel Rebel, Young Americans, Be My Wife, "Heroes," Boys Keep Swinging, D.J., Look Back in Anger, Ashes to Ashes, Fashion, Wild Is the Wind, Let's Dance, China Girl, Modern Love, Cat People (Putting Out Fire), Blue Jean, Loving the Alien, Dancing in the Street (with Mick Jagger) Disc 2: Absolute Beginners, Underground, As the World Falls Down, Day-In Day-Out, Time Will Crawl, Never Let Me Down, Fame '90, Jump They Say, Black Tie White Noise, Miracle Goodnight, Buddha of Suburbia, The Heart's Filthy Lesson, Strangers When We Meet, Hallo Spaceboy, Little Wonder, Dead Man Walking, Seven Years in Tibet, I'm Afraid of Americans, Thursday's Child and Survive.

Johnny Pigozzi—photographer, heir, and legendary collector—pioneered the celebrity selfie in the 1970s, built an elite social network, and assembled the world's best contemporary African art collection.

London: The Modern Babylon is legendary director Julien Temple's epic time-traveling voyage to the heart of his hometown.

A rather incoherent post-breakup Sex Pistols "documentary", told from the point of view of Pistols manager Malcolm McLaren, whose (arguable) position is that the Sex Pistols in particular and punk rock in general were an elaborate scam perpetrated by him in order to make "a million pounds."

Following the success of the 1979 show and the financial benefits accruing to Amnesty from the spin-off movie, TV special and record albums – Cleese, Lewis and Walker planned the next show to be a more spectacular event. Cleese focused on broadening the comedic talent to be presented at the show. In addition to the Amnesty show stalwarts drawn from the Oxbridge/Monty Python/Beyond The Fringe orbit, he invited newcomers such as Rowan Atkinson’s colleagues from the BBC TV show Not the Nine O'Clock News including Pamela Stephenson and Griff Rhys Jones; comedian Victoria Wood and regional comic Jasper Carrott. Lewis secured a return appearance by Billy Connolly and a debut appearance by "alternative" comedian Alexei Sayle who Lewis had recently discovered and was managing. Building on the success of Pete Townshend's 1979 appearance Lewis recruited other rock musicians to perform at the 1981 show including Sting, Phil Collins, Eric Clapton, Jeff Beck, Donovan and Bob Geldof.

A tough, Jewish ex-con just released from prison crosses a powerful drug dealer and former prison rival in his return to a life of crime.

This unique and innovative project provides a compelling audiovisual journey into 2,000 years of Ibiza’s bohemian soul. The film captures Temple’s iconic style and boasts a soundtrack curated by world renowned artist Fatboy Slim, including his smash hits RIGHT HERE, RIGHT NOW; EAT SLEEP RAVE REPEAT as well as legendary tracks from artists including Ultra Nate, Cream, Brian Eno, The Dandy Warhols, The Sex Pistols and more.

Julien Temple's wartime documentary parody "Punk Can Take It" (1979) - a theatrically released promo for the UK Subs, complete with narration by BBC voice-over veteran John Snagge - paints a glorious picture of England in a punk rock "identity crisis". Punk morale was higher than ever before. Punks were fused together not by fear, but by a surging spirit of revenge, immortality, and the courage never to submit or yield. This proved that punk won't go away and that punks themselves are becoming younger and nastier everyday. They have no time for the precarious thrills of nostalgia nor for its trivial rules.