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Director Jem Cohen's relationship with band member Ian MacKaye extends back to the 1970s when the two met in high school in Washington, D.C.. The film takes its title from the Fugazi song of the same name, from their 1993 album, In on the Kill Taker.  Editing of the film was done by both Cohen and the members of the band over the course of five years. It was shot from 1987 through 1998 on super 8, 16mm and video and is composed mainly of footage of concerts, interviews with the band members, practices, tours and time spent in the studio recording their 1995 album, Red Medicine.  The film also includes portraits of fans as well as interviews with them at various Fugazi shows around the United States throughout the years.",0.2358,"\u002F5f3gPdJeYyTIrFPKT08Yhe2vYTg.jpg","1999-03-01",6.904,26,{"adult":5,"backdrop_path":363,"genre_ids":364,"id":365,"title":366,"original_language":188,"original_title":366,"overview":367,"popularity":368,"poster_path":369,"release_date":370,"softcore":5,"video":5,"vote_average":8,"vote_count":8},"\u002F24WFb9w4i9fr2s2QAyTvU8jZDnp.jpg",[11],463389,"Discovering Buñuel","Luis Bunuel, the father of cinematic Surrealism, made his film debut with 'Un Chien Andalou' in 1929 working closely with Salvador Dali. Considered one of the finest and controversial filmmakers with, 'L’Age d’Or' (1930), attacking the church and the middle classes. He won many awards including Best Director at Cannes for 'Los Olvidados' (1950), and the coveted Palme d’Or for 'Viridiana' (1961), which had been banned in his native Spain. His career moved to France with 'The Diary of a Chambermaid' with major stars such as Jeanne Moreau and Catherine Deneuve.",0.2396,"\u002Fi2PN6wQNBCDPloJZo0Jw5rqhtbA.jpg","2012-01-01",{"adult":5,"backdrop_path":372,"genre_ids":373,"id":374,"title":375,"original_language":376,"original_title":377,"overview":378,"popularity":379,"poster_path":380,"release_date":381,"softcore":5,"video":5,"vote_average":8,"vote_count":8},"\u002F2Bpj8z5cuwSXLUlBq9IMJDZAZng.jpg",[14,197,208],1209782,"We Are the Future","pt","Nós Somos o Amanhã","In the 1980s, the musical and futuristic teacher Clara Celeste arrives at a school surrounded by bullying problems driven by issues of ethnicity, sexuality, gender, physique, and behavior. With the teacher's help, a group of students are finally able to find their voice and experience empowerment, with the freedom to live as they wish. Despite this, prejudice still surrounds the school, always seeking to intimidate the students. To win this battle against intolerance and censorship, the group will need to stick together and believe in the power of change.",0.2491,"\u002FzkIJxMlF63CZ8X3k2d9OCN5nAXj.jpg","2023-12-03",{"adult":5,"backdrop_path":383,"genre_ids":384,"id":385,"title":386,"original_language":323,"original_title":386,"overview":387,"popularity":388,"poster_path":389,"release_date":390,"softcore":5,"video":5,"vote_average":193,"vote_count":54},"\u002F3UEsvNZAoy2VcfLZ6nnfHfTbSGt.jpg",[11,237],1026833,"Le 3615 ne répond plus","The adventure of the minitel, a small cubic terminal with a folding keyboard that began in the 1970s in the labs of France Telecom, is closely linked to Alsace. Alsatians had then in hand the future tools of interactive communication. What remains today of all those minitel years? Like a nocturnal and intimate road-movie, this documentary went to meet the last people who are still interested in the minitel, this strange beige box of access to telematic services, corny today, but pioneers at the end of the last century.",0.6798,"\u002FqTsy61pgeUtOcx4DUC2bWVBFwC.jpg","2022-09-21",14072,281437,{"results":394},{},{"results":396},[],45,"A documentary story that tends to land well.",[]]