“First of all,” Hillary Clinton tells a table full of women voters, “You never say anything that is interesting and they keep taking pictures of you and they keep recording you, and it goes on and on and on, in case you do something, I guess.” She’s wearing a headband and a gigantic gold brooch. And with that, the scene cuts to a TV interview with Gennifer Flowers: “He has wonderful lips,” she confides, “He’s a wonderful kisser.” Her makeup is perfect and her pink jacket is adorned with… a gigantic gold brooch. Ah yes, 1992. And more specifically, in Kevin Rafferty and James Ridgeway’s documentary Feed, the New Hampshire primary, which Paul Tsongas went on to win. The film—which is screening at Stranger Than Fiction on 8 May, to be followed by a Q&A with Rafferty—doesn’t clarify how all this strange history happened, but it does show how candidates and journalists do their work for TV cameras, in interviews and in the feeds leading to and from those interviews, and in footage shot by the filmmakers around the state.

Perhaps the question didn’t need to be asked, but that doesn’t mean the answer isn’t worth a half-hour of your time. In 2011, the Beastie Boys’ Adam Yauch (who passed away from cancer on May 4 at age 47) premiered the 30-minute film Fight For Your Right Revisited, which shows what happens in the aftermath of their apartment-demolishing video for that epochal party anthem. In short, the Boys—played by Seth Rogen, Danny McBride, and Elijah Wood —get chewed out by an elderly couple (Stanley Tucci and Susan Sarandon), go on a beer-hurling rampage, and eventually pay the price for their misdeeds.

It’s the video-short equivalent of name-dropping, but still contains much of what was best about the Beasties and Yauch. There’s the hep self-consciousness that plays on a high level of irony without losing its intrinsic humor, and also the culture-blender mashup of cheap gags and period-specific retro-nods which was their signature video-and-music style before the rest of the world caught on.

The latest trailer for The Dark Knight Rises was supposed to appear during the trailers for the soon to be mega blockbuster The Avengers. But fans got an early look Monday when the Facebook page for The Dark Knight Rises had this link accompanied by the teaser “Hope is lost. Faith is broken. A fire will rise.”

Like the previous trailer, Catwoman warns Bruce Wayne of a coming storm. But in this trailer, she appears to be taking a sympathetic lean toward Batman. Bane’s voice seems to be a tad clearer, promising to be “Gotham’s reckoning”. Judging by the shelled-out stock exchange, collapsed bridges, and a barely-conscious Batman, it’s safe to say you can take him at his word.

“Both of us are very proud to be Americans and when you see someone is poisoning what you love, and what you believe in, I think if you allow yourself, you become someone who wants to fight against it.” As David McKay describes his thinking, you might think you know where Better This World is headed. McKay and Brad Crowley, two friends from Midland, Texas, tell a story that seems familiar: as young activists, they were arrested at the Republican National Convention in 2008. As the film unfolds, they’re fighting their legal cases. At the time, that is, after 9/11, says FBI Assistant Special Agent Tim Gossfeld, domestic terrorism was a specific target: “That is what we need to focus all our resources on,” he asserts, “to the best of our ability.”

Six-year-old Jeanne (Malonn Lévana) like pink: her bedroom is painted pink, her bedspread is pink, and she wears a pink tutu when she practices her ballet lessons. Her 10-year-old sister Laure Michaël (Zoé Héran) prefers blue. Céline Sciamma’s wonderful Tomboy—now available on iTunes from FilmBuff—presents their relationship and changing circumstances from their perspectives. The camera remains low as yhey watch their parents (Sophie Cattani and Mathieu Demy) chat in their new kitchen (the family has is moving to a new home just outside Paris as the film begins). Their mother’s belly is large, as she’s pregnant with a boy: they see mom smiling and excited, remarking the baby’s movements. Laure sees in her mother a new delight and also a distance: she wonders, without being aware that she’s wondering, how to regain her attention.