Mother and daughter – Big Edie and Little Edie Beale – live with six cats in a crumbling house in East Hampton. Little Edie, in her 50s, who wears scarves and bright colors, sings, mugs for the camera, and talks to Al and David Maysles, the filmmakers. Big Edie, in her 70s, recites poetry, comments on her daughter’s behavior, and sings “If I Loved You” in fine voice. She talks in short sentences; her daughter in volumes. The film is episodic: friends visit, there’s a small fire in the house, Little Edie goes to the shore and swims. She talks about the Catholic Church. She’s ashamed that local authorities raided the house because of all the cats. She values being different.

IRIS pairs legendary 87-year-old documentarian Albert Maysles with Iris Apfel, the quick-witted, flamboyantly dressed 93-year-old style maven who has had an outsized presence on the New York fashion scene for decades. More than a fashion film, the documentary is a story about creativity and how, even in Iris’ dotage, a soaring free spirit continues to inspire. IRIS portrays a singular woman whose enthusiasm for fashion, art and people are life’s sustenance and reminds us that dressing, and indeed life, is nothing but an experiment.

An old mother and her middle-aged daughter, the aunt and cousin of Jacqueline Kennedy Onassis, live their eccentric lives in a filthy, decaying mansion in East Hampton.

This documentary of the Rolling Stones’ 1969 US tour has become a legendary, harrowing symbol of the tragic demise of the “Peace and Love” era. After a successful tour across the US, the Rolling Stones gave a free December concert at Altamont Speedway in California with the Grateful Dead, Ike and Tina Turner, Jefferson Airplane, and the Flying Burrito Brothers. The band unwisely selected the Hells Angels to provide security, and the bikers resorted to violence to keep the stoned, restless, and often naked crowd in line. The result: dozens of injuries and the on-screen stabbing of a young black man (during “Sympathy for the Devil”) by one of the concert’s staff security. In a manipulative but effective move, the Maysles brothers filmed Mick Jagger in the editing room witnessing the on-camera murder for the first time. The film also works as a rock-and-roll document, capturing the band at their most relaxed, intoxicating, and electrifying.