Joe Lally

The band Fugazi is documented over a period of more than ten years (1987-1998) through performance footage and interviews with the band and their fans. 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.

36 minutes of video footage shot by Lance Bangs and Jem Cohen (famously used in the Instrument movie).

Rare proshot

Documentary on doom metal band The Obsessed. Featuring members of: White Zombie, Fugazi, Pantera, Henry Rollins, L7, The Melvins and more.

Rare multicam concert done in protest against the Gulf War.

Rare proshot concert of the band

Fugazi perfoming at the Fabrik in Hamburg, Germany, on September 18 1999.

A kinetic glimpse of the rock band Fugazi tearing it up in Wisconsin during the 
Summer of 2001. The original 16mm footage had gone missing for several years,
 but was eventually found, scanned, and edited together in 2010.

To commemorate the 20 years that have passed since DC-based post-hardcore band Fugazi's last live appearance (November 4, 2002, at the Forum in London), Joe Gross, Joseph Pattisall and Jeff Krulik presented a screening of crowd-sourced, fan-recorded live shows, and rare archival footage to pay tribute to Fugazi's prowess as a live act—for old fans to remember and for a new generation to discover what they missed. This one-off screening event celebrates the fans and their cameras, as much as the band itself—a collision/collusion of the ephemeral moment on stage and the moments captured on camera.