"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.

A story of enduring love between Leonard Cohen and his Norwegian muse Marianne Ihlen. The film follows their relationship from the early days in Greece, a time of ‘free love’ and open marriage, to how their love evolved when Leonard became a successful musician.

This feature-length documentary is a cinematic biography of a song. Inspired by "The Holy or the Broken," Alan Light's critically acclaimed book, it is a definitive exploration of Leonard Cohen's "Hallelujah."

Explores the music scene in Greenwich Village, New York in the 60's and early 70's. The film highlights some of the finest singer/songwriters of the day.

阿历斯（阿诺•施瓦辛格 Arnold Schwarzenegger 饰）和拉里博士（丹尼•德维托 Danny DeVito 饰）研究了一种新的生育配方――安胎灵，它能大大降低女性怀孕的风险。但这种药却没有获得联邦药物处的人体试验批准，所以一直不能上市。资助方将资金和设备都抽走了，无奈两位博士被竞争对手兼顶头上司诺亚安置到女博士黛安娜（艾玛•汤普森 Emma Thompson 饰）手下协助工作。拉里博士为了他们的产品能顺利上市，偷偷将黛安娜冷藏在实验室准备做实验用的卵子和阿历斯的精子结合成受精卵，并劝服了阿历斯在体内植入受精卵，这下，世界上第一例男人受孕就诞生了！阿历斯开始服用他们的产品安胎灵，他们打算在胎儿3个月的时候就将其取出。然而，随着阿历斯服用的安胎灵越多，他各方面都开始出现女性的特征，而且，他开始决心要将胎儿生下来……

默里·勒纳的电影“节”是四个新港民俗节庆影院级合成描绘的关键年的过渡期为艺术民间music.Performers的范围从60年代的民间传说鲍勃·迪伦和琼·贝兹，以国画家像约翰尼·卡什美国传统民俗艺术家如佐治亚州海岛Singers.The范围也从巨大的价格的专业人士像彼得，保罗和玛丽的儿子众议院和密西西比约翰·贝兹Hurt.Joan，多诺万和Judy Collins的地道的民间尊严都在看，因为是皮特西格中，埃德年轻夫和鼓乐队。

In a futuristic desert hamlet, a ruthless town boss lynches a falsely accused Native American teen, setting the stage for revolt and a clash with a troubled, drunken sheriff.