Past Screenings & Events J | A-Z | DocHouse

“Cinema lies, sport doesn’t” claimed Jean-Luc Godard. John McEnroe: In the Realm of Perfection is an unusual exploration of the relationship between film and tennis, in which we observe McEnroe lash out at the refs and more frequently, confronting the cameras watching him.

Gil de Kermadec was a filmmaker who began making instructional tennis videos in the 1960s, and was obsessed with slow motion; he believed that slow motion may be the key to unlocking the secrets of the sport.


Dir: Brett Morgen

Crafted from never-seen-before archive footage, acclaimed filmmaker Brett Morgen tells the extraordinary and inspiring story of British primatologist Jane Goodall and the profound effect the animals she loved had on her life. 


Dir: Paul Thomas Anderson

Spring 2015, the Maharaja of Jodhpur, India hosts Shye Ben Tzur, ‎Jonny Greenwood, Nigel Godrich, Paul Thomas Anderson and a dozen Indian musicians. The team assembles a makeshift studio at the Maharaja's Fort...


Dir: Raymond Depardon & Claudine Nougaret

Legendary filmmaker-photographer Raymond Depardon collaborates with wife and long term creative partner, Claudine Nougaret, to bring us a captivating and highly personal panorama of modern France.

Jason Becker: Not Dead Yet

Dir: Jesse Vile

When doctors diagnosed 19-year-old rock star Jason Becker with Lou Gehrig's Disease, they said he would never make music again and that he wouldn't live to see his 25th birthday. 22 years later, without the ability to move or to speak, Jason is alive and making music with his eyes.


Dir: Jasmina Fekovic

In 1997, Jeff Buckley - considered by critics to be one of the most promising artists of his generation - drowned in mysterious circumstances. Featuring interviews with Buckley's friends and family and rare home-movie footage of the singer on tour, Goodbye and Hello is a unique exploration into the conflicting perceptions of this enigmatic man.


Dir: Vít Klusák

The director Vít Klusák is shooting a film about his father, the well-known composer Emil Viklický, but the latter wants nothing to do with it. This creates a portrait without portraiture, since the director places a double in the role of his father, whom he finds through an advertisement published in newspapers.What is interesting is that Klusák does not know his real father personally, but only meets him (or fails to meet him) for the second time in his life while filming ...y meets him (or fails to meet him) for the second time in his life while filming.