Odd Documentaries

Renowned cult film director John Waters narrates this quirky exploration of the Salton Sea, the massive Southern California lake that was created by accident a century ago, became a popular desert resort and has since developed into a refuge for a community of oddballs.

Uses a courtroom debate approach to explore the issues of filmmaking and fanaticism around one of the industry's most famous franchises and its creator. The innovative film combines filmmaker and celebrity interviews with fan films - submitted via the film's site - to make this the world's first digitally democratic feature documentary.

Jesus Camp follows several young children as they prepare to attend a summer camp where the kids will get their daily dose of evangelical Christianity.

Shoot-outs, robberies, gas-huffing , drug dealing, pill popping, murders, and tap dancing - what do these all have in common? These are just a few of the parts of being a member of the Wild and Wonderful White Family. The legendary family is as known for their wild, excessive criminal ways as they are for their famous mountain dancing members, including Jesco White, the star of the cult classic documentary "Dancing Outlaw." Exploring both the comic and tragic sides of life on the other side of the law, this stylish, fast-paced family portrait exposes the powerful forces of corruption, poverty, and West Virginia's environmentally and culturally devastating coal mining culture that helped shape the White family, a dying breed of outlaws preserving a dying form of dance.

Documentary about writer and performance artist Bob Flanagan who died at 43 of cystic fibrosis. His life was indicated by pain from the beginning and he started to develop sadomasochistic practices, which he developed finally into performances.

He began a film, a search, to discover not only what had happened to Stevie over the past ten years but to understand the forces that had shaped his entire life. Part way through the filming, Stevie is arrested and charged with a serious crime that tears his family apart. What was to be a modest profile turns into a intimate four and half year chronicle of Stevie, his broken family, the criminal justice system and the filmmaker himself, as they all struggle with what Stevie has done and who he has become.

Affectionate portrait of Tim "Speed" Levitch, a tour guide for Manhattan's Gray Line double-decker buses. He talks fast, is in love with the city, and dispenses historical facts, architectural analysis, and philosophical musings in equal measures. He's reflective and funny about cruising: he loves it, got in it to meet women, and he'd quit work if he could. His personal life is disclosed in small doses: he takes home $200 a week for 20 hours work, home is his suitcase and wherever he can flop, he's been arrested for going out on the roof tops of skyscrapers to see his city; he stands between the towers of the World Trade Center, spins until he's dizzy, then looks up.

Rick Kirkham was a successful TV reporter, and could have been a major U.S. television profile if it hadn't been for his massive drug and alcohol abuse. Kirkham filmed his life every day with a video camera from the age of 14 years. On the basis of his video material the story of his life is told in this documentary.

On the 40th anniversary of the Internet, WE LIVE IN PUBLIC tells the story of the effect the web is having on our society as seen through the eyes of "the greatest Internet pioneer you've never heard of", visionary Josh Harris. Award-winning director, Ondi Timoner ("DIG!"), documented his tumultuous life for more than a decade, to create a riveting, cautionary tale of what to expect as the virtual world inevitably takes control of our lives. Josh Harris, often called the "Warhol of the Web" through the infamous dot.com boom of the 1990's, founded Pseudo.com, the first Internet television network and created his vision of the future, an underground bunker in NYC where 100 people lived together on camera for 30 days over the millennium. He proved how in the not-so-distant future of life online, we will willingly trade our privacy for the connection and recognition we all deeply desire. Through his experiments, including a six-month stint living under 24-hour live surveillance online which led him to mental collapse, he demonstrated the price we will all pay for living in public.

One of the most astonishing and engaging cinematic works of the past decade, CHILDREN UNDERGROUND is a profoundly intimate and heart-wrenching drama about homeless children struggling for survival on the streets and in the subways of Bucharest, Romania.

Documents 18 months in the lives of three crack addicts in Lowell, Massachusetts.

The story behind literary persona JT LeRoy, the fictional writer created by American author

Early Errol Morris documentary intersplices random chatter he captured on film of the genuinely eccentric residents of Vernon, Florida. A few examples? The preacher giving a sermon on the definition of the word "Therefore," and the obsessive turkey hunter who speaks reverentially of the "gobblers" he likes to track down and kill.

In 1987, Sudan's Muslim government pronounced death to all males in the Christian south: 27,000 boys fled to Ethiopia on foot. In 1991, they were forced to flee to Kenya; 12,000 survived to live in a U.N. camp in Kakuma. Archival footage documents the 1,000 mile flight; we see life in the camp. We follow three young men who repatriate to the U.S. John Bul Dau goes to Syracuse, and by the film's end, becomes a spokesperson for the Lost Boys and Lost Girls of Sudan; Daniel Abol Pach and Panther Bior go to Pittsburgh. All work several jobs, send money back to the camp, search for relatives lost in the civil war, acclimatize to the U.S., seek an education, and miss their homeland.

Strangeness is afoot. Most people don't notice the hundreds of cryptic tiled messages about resurrecting the dead that have been appearing in city streets over the past three decades. But Justin Duerr does. For years, finding an answer to this long-standing urban mystery has been his obsession. He has been collecting clues that the tiler has embedded in the streets of major cities across the U.S. and South America. But as Justin starts piecing together key events of the past he finds a story that is more surreal than he imagined, and one that hits disturbingly close to home.

The Parking Lot Movie is a documentary about a singular parking lot in Charlottesville, Virginia. The film follows a select group of parking lot attendants and their strange rite of passage. The eccentric brotherhood of attendants consist of grad students, overeducated philosophers, surly artists, middle-age slackers and more. This self-described "ragtag group of fractured poets" prefer skateboards and bicycles to cars and have at best a tolerant contempt for the people they serve. That's not to say they don't care about anything. They hang out at the lot even in their spare time, shooting the breeze or playing a spirited game of "flip cone," just because...they like it there. They conduct their own private "war" against the elites, the pretentious and obnoxious customers who park their BMWs, Hummers, Suburbans and other vehicles. They study the art of doing nothing and the knack of getting even with rude, SUV-driving dolts who treat them like inferior beings. The gradual devolution from enthusiasm to resentment in the psyches of guys self-aware enough to notice it is an interesting process; in an attempt to distract themselves from the rapidly mounting bitterness, the attendants amuse themselves any way they can-stenciling random messages on the parking gate, writing songs, even dancing for tips. Through interviews with former attendants who have moved on - we see that their time at the lot has clearly provided rites of passage and afforded them Zen-like perspective. As one parking attendant laments, "We had it all in a world that had nothing to offer us." If the intersection between the status quo and the quest for freedom is their ultimate challenge, could a slab of asphalt be an emotional way station for The American Dream?

In the 1980s, few pieces of home electronics did more to redefine popular culture than the videocassette recorder. With it, the film and television media were never the same as the former gained a valuable new revenue stream and popular penetration while the latter's business model was forever disrupted. This film covers the history of the device with its popular acceptance opening a new venue for independent filmmakers and entrepreneurs. In addition, various collectors of the now obsolete medium and its nostalgically esoteric fringe content are profiled as well.

Near Penn Station, next to the Amtrak tracks, squatters have been living for years. Marc Singer goes underground to live with them, and films this "family." A dozen or so men and one woman talk about their lives: horrors of childhood, jail time, losing children, being coke-heads. They scavenge, they've built themselves sturdy one-room shacks; they have pets, cook, chat, argue, give each other haircuts. A bucket is their toilet. Leaky overhead pipes are a source of water for showers. They live in virtual darkness. During the filming, Amtrak gives a 30-day eviction notice.