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Bittersweet Motel
Bittersweet Motel
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Bittersweet Motel
Directed byTodd Phillips
StarringPhish
CinematographyElia Lyssy
Edited byAlan Oxman
Release date
  • August 25, 2000 (2000-08-25)
Running time
82 minutes

Bittersweet Motel is a 2000 documentary film about the rock band Phish directed by Todd Phillips.[1] With him covering the band's summer and fall 1997 tours, plus footage from their 1998 summer tour of Europe. The documentary ends with The Great Went, a giant two-day festival held in upstate Maine that attracted 70,000 people.

The film's title comes from a Phish song of the same name, which is featured at the end of the movie.

Songs

[edit]

Most songs that appear in the film were performed live unless noted. Eight cover songs are featured in the film, including the rehearsal and debut of Ween's "Roses Are Free" from their Chocolate and Cheese album. Two other notable debuts captured in the film are an early version of "Sleep" (played solo by Trey on his Languedoc guitar for the cameras which would later appear on their 2000 album Farmhouse) and a soundcheck of the band performing what was at the time the new faster-arpeggiated version of "Water in the Sky" that would be seen later that year in studio form on their 1998 album The Story of the Ghost.

The song list does not follow the order in which the scenes were shot. "The Great Went" appears as the climax of the film, though in reality, it was the first footage that Phillips shot for the movie.

Live Songs
Order Of Appearance Song Date Venue Original Artist
1 Brian And Robert 7/2/1998 The Grey Hall - Freetown Christiana, Copenhagen Denmark Phish
2 Roses Are Free 12/11/1997 Rochester War Memorial - Rochester NY Ween
3 Down With Disease 12/11/1997 Rochester War Memorial - Rochester NY Phish
4 Waste 12/11/1997 Rochester War Memorial - Rochester NY Phish
5 New Year Countdown > Auld Lang Syne > Tweezer 12/31/1997 Madison Square Garden - New York NY Phish > Traditional > Phish
6 When The Circus Comes 7/9/1998 Zeleste - Barcelona Spain Los Lobos
7 Water In The Sky (soundcheck) 6/30/1998 The Grey Hall - Freetown Christiana, Copenhagen Denmark Phish
8 Frankenstein 7/8/1998 Zeleste - Barcelona Spain Edgar Winter Group
9 Wilson 7/8/1998 Zeleste - Barcelona Spain Phish
10 Hello My Baby 7/9/1998 Zeleste - Barcelona Spain Traditional
11 Punch You In The Eye (audio only; background music during "On the Way to The Great Went" montage) 12/11/1997 Rochester War Memorial - Rochester NY Phish
12 Character Zero 8/16/1997 The Great Went - Limestone ME Phish
13 The Squirming Coil 8/16/1997 The Great Went - Limestone ME Phish
14 Simple 8/16/1997 The Great Went - Limestone ME Phish
15 Also Sprach Zarathustra 8/17/1997 The Great Went - Limestone ME Deodato
16 Loving Cup 8/16/1997 The Great Went - Limestone ME The Rolling Stones
17 Art Jam 8/17/1997 The Great Went - Limestone ME Phish

Additional off-stage performances include:

Brian and Robert (rehearsal and performance) July 2, 1998 - The Grey Hall, Freetown Christiana, Copenhagen, Denmark

Birds of a Feather (rehearsal) March 1998 - Unknown House, Burlington VT

Sleep March 1998?- Trey's Barn, VT

Love Me (Leiber and Stoller) (backstage rehearsal Mike and Trey) December 31, 1997 - Madison Square Garden, New York NY

Bittersweet Motel (backstage - Trey, Page, & Tom Marshall) July 8, 1998 - Zeleste, Barcelona, Spain

The following performances were not featured in the film but were included as bonus footage included on the VHS and DVD releases:

Punch You in the Eye (bonus track 1) December 11, 1997 - Rochester War Memorial, Rochester, NY

Big Black Furry Creatures from Mars (bonus track 3) December 11, 1997 - Rochester War Memorial, Rochester, NY

Dirt (bonus track 4, after Page interview) December 11, 1997 - Rochester War Memorial, Rochester, NY

Maze (bonus track 5) December 11, 1997 - Rochester War Memorial, Rochester, NY

Lawn Boy (bonus track 8, after Page interview) August 16, 1997 - The Great Went, Limestone ME

Home media

[edit]

The film was released on DVD and VHS on March 6, 2001. Both formats feature extra footage, including uncut live performances of Punch You in the Eye, Maze, Big Black Furry Creature from Mars, and Lawn Boy, as well as additional interview sequences that didn't make it into the film. The DVD edition also includes the original theatrical trailer and an interview with director Todd Phillips and offers Dolby Digital 5.1 and DTS Surround Sound. The film is presented in its original 1.85:1 Theatrical Aspect Ratio however the DVD is not anamorphic.

Personnel

[edit]

Phish

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Bittersweet Motel

View on Grokipedia
from Grokipedia
Bittersweet Motel is a American directed by that chronicles the activities of the rock band during their 1997 and 1998 tours, including the Great Went festival in . The 82-minute film emphasizes the band's and live performances, featuring extensive concert footage from their 1997 summer and fall U.S. tours, 1997 European tour, and 1998 summer tour return to , while downplaying their dedicated fanbase. Phish, formed in 1983 in , is a renowned for extended improvisational sets and a strong sense of community with fans. The group consists of guitarist and lead vocalist , bassist and vocalist , drummer , and keyboardist and vocalist . By the late , Phish had become one of the top-grossing live acts in ; in a September 1998 feature, Rolling Stone described them as "the most important band of the Nineties" due to their ambition, community, and generous performances. The film's title derives from "Bittersweet Motel," a from Phish's 1998 studio album , which debuted live on July 21, 1998, during the band's summer tour. Bittersweet Motel premiered at film festivals in 2000 and was released on DVD in 2001, receiving acclaim for its authentic depiction of Phish's creative process and stage energy. As of November 2025, it holds a 7.6 out of 10 rating on from 10,816 user votes and a 63% Tomatometer score on based on eight reviews.

Background

The Band Phish

Phish is an American rock band formed in 1983 in , while its founding members were students at the . The core lineup consists of guitarist , bassist , drummer , and keyboardist , with the group solidifying in its current form by 1985 after an initial guitarist departed. From their early days as college musicians, Phish developed a reputation for extended live sets that emphasized musical exploration over rigid song structures. The band evolved into a pioneering , renowned for its improvisational live performances that blend elements of rock, jazz, funk, and bluegrass. Drawing inspiration from the Grateful Dead's format, 's shows often feature spontaneous jams lasting 20 minutes or more, creating unique experiences that vary night to night and foster deep audience engagement. This approach, combined with theatrical elements like choreographed antics and visual surprises, distinguishes within the improvisational rock scene. Phish rose to prominence in the 1990s through relentless touring and self-produced festivals that built a devoted fanbase known as Phishheads. Events like the 1997 Great Went, which drew an estimated 65,000 to 70,000 attendees to in , for , , and communal activities, exemplified their ability to create immersive festival experiences. By the mid-1990s, the band ranked among the top-grossing live acts, with fans traveling cross-country to follow tours and trading recordings to relive performances. In 1997, reached the height of their popularity, headlining sold-out U.S. tours in summer and fall—culminating in the acclaimed "Phish Destroys America" fall run of 21 dates—before embarking on a European leg in 1998. This period showcased their peak drawing power, with arenas filling to capacity and festivals expanding the scale of events. The band's original "Bittersweet Motel," later featured on their 1998 album , captured the reflective tone of their touring life during this era.

Project Origins

Todd Phillips, a filmmaker known for his documentaries including the 1993 punk rock film Hated: GG Allin and the Murder Junkies and the Sundance-winning Frat House (1998), initially had limited familiarity with Phish but became a devoted fan after attending one of their Midwest shows in 1997. His prior work in capturing raw, unfiltered aspects of subcultures caught the band's attention, leading to his recruitment for the project. The documentary Bittersweet Motel was conceived in 1997 during Phish's planning sessions for their summer tour, as Phillips proposed documenting the band's experiences to capture their evolving touring lifestyle amid rising fame and a dedicated fanbase. The idea stemmed from a desire to provide an intimate look at the musicians' daily realities , emphasizing their personalities and camaraderie rather than a fan-centric or historical overview. This approach aligned with Phish's 1997 tour schedule, which served as the filming's starting point, beginning with events like the Great Went festival. The film was titled Bittersweet Motel after Phish's song of the same name from their 1998 album , chosen to evoke the transient, emotionally complex nature of life on tour—marked by exhilaration and exhaustion. Early challenges included securing full band access, which Phillips achieved through the trust earned from his independent filmmaking reputation, allowing an insider's perspective without external interference. Funding was handled via Phish's production company, Dionysian Productions, covering costs exceeding $500,000 for the independent effort, though the limited budget constrained the crew to a for much of the production.

Production

Filming Process

The filming of Bittersweet Motel primarily occurred over 45 days spanning 1.5 years, capturing Phish's 1997 summer and fall U.S. tours, segments of their 1998 European tour, and key festival moments. Director integrated the production into the band's rigorous touring schedule, beginning with the summer leg that included venues such as in . Additional shooting took place during fall arena shows, like the December 1997 performance at in , and culminated in European club dates in July 1998. Cinematographer Elia Lyssy led the visual capture, employing a cinema vérité approach with multiple cameras to document both stage performances and off-stage moments, allowing for intimate access to the band's improvisational sets. This setup enabled footage of road life, including travel between shows, candid band interactions such as rehearsals in , and fan cameos that highlighted the communal tour atmosphere. A pivotal sequence was shot at the Great Went festival in August 1997 at in , drawing an estimated 70,000 attendees; this event, filmed early in production, was narratively positioned at the film's climax to emphasize its scale and energy. Logistical challenges arose from synchronizing the crew with 's demanding itinerary across diverse venues, from outdoor festivals to indoor arenas, while maintaining a non-intrusive presence to preserve authentic moments. The production, budgeted at over $500,000 and fully funded by the band, prioritized raw, unscripted documentation over manufactured narratives, though this required careful on-site coordination to balance extensive footage with emerging thematic flow. Phillips' evolving appreciation as a newcomer to the Phish scene subtly influenced selections of spontaneous, fan-infused shots that underscored the tour's improvisational spirit.

Post-Production

Following , the phase of Bittersweet Motel involved meticulous editing to transform raw tour into a cohesive 82-minute . Editor Alan Oxman assembled the film from extensive material captured during Phish's 1997 and 1998 tours, adopting a loosely chronological structure that traces the band's journey through summer and fall performances, culminating in the emotional peak of The Great Went festival. This approach emphasized key moments of the tour's progression, balancing high-energy sequences with reflective interludes to capture the band's dynamic. Sound design centered on integrating live audio mixes from the concerts, highlighting Phish's signature improvisational jams and intricate compositions without any added . The soundtrack relies entirely on on-site recordings, band member interviews, and visual storytelling to convey the touring experience, allowing the music's organic flow—ranging from extended jams to intimate ballads—to drive the narrative. This decision preserved the authenticity of the performances, underscoring the film's focus on the band's musical interplay and the raw energy of their live shows. Technical specifications were finalized for theatrical presentation, including a 1.85:1 and processing of the color to enhance visual clarity and vibrancy. Director oversaw these refinements to ensure the documentary's immersive quality, with creative choices in pacing and rhythm—such as rhythmic cuts between multiple camera angles—adding a cinematic layer to the tour's highs and lows. These elements contributed to the film's thematic closure on the bittersweet nature of relentless touring.

Content and Themes

Documentary Synopsis

Bittersweet Motel opens by capturing the vibrant energy of Phish's 1997 summer tour across the , immersing viewers in the band's dynamic live performances and the electric atmosphere surrounding their shows. The film traces the group's journey through subsequent fall U.S. dates, extending into their 1998 spring tour of , where footage highlights the challenges of international travel and adaptation to new audiences. This progression builds toward a climactic focus on The Great Went festival in August 1997 at in , attended by over 70,000 fans, serving as a pinnacle of communal celebration. Throughout, the documentary explores the "bittersweet" essence of relentless touring, juxtaposing the exhilaration of onstage and audience connection against the physical exhaustion, isolation, and emotional toll of life . Key sequences reveal backstage banter among band members , , , and , showcasing their longstanding camaraderie and lighthearted reflections on the pressures of fame following their 1997 commercial peak. Glimpses into Phishheads' culture further illustrate fan devotion, with nomadic followers forming a tight-knit community that mirrors the band's own improvisational spirit in fostering shared joy. The overall tone remains intimate and celebratory, emphasizing the music's role in creating moments of transcendence and without delving into personal conflicts, ultimately portraying Phish's world as a haven of genuine, unpretentious connection. The documentary Bittersweet Motel showcases a selection of live performances from Phish's 1997 summer and fall tours, as well as select 1998 European dates, emphasizing the band's improvisational prowess through extended s and seamless transitions. These clips capture the group's dynamic interplay, with many songs stretching beyond standard lengths due to on-stage explorations, often eliciting enthusiastic crowd responses at large outdoor venues. Key originals include "Down with " from the fall 1997 tour, featuring a lengthy, exploratory jam that builds tension through Trey Anastasio's guitar work and Mike Gordon's bass lines, clocking in at over 15 minutes in performance. Similarly, "" and "" highlight the band's melodic side, with "Sleep" delivering a gentle, extended outro that resonates with audiences during late-night sets. Among the eight covers featured, standout renditions underscore Phish's affinity for reinterpreting classics with jam-band flair. The debut of Ween's "Roses Are Free" on December 11, 1997, at Rochester War Memorial in , serves as a pivotal moment, blending funky rhythms and psychedelic solos over 10 minutes, with rehearsal footage in the film illustrating the band's preparation; the crowd's surprise and delight were palpable during this unexpected opener. ' "" appears in the encore of August 16, 1997, at The Great Went festival in , delivering a rollicking, horn-infused close that energizes the massive festival audience. Other notable covers include the Grateful Dead's "When the Circus Comes to Town" from July 9, 1998, at Zeleste in , , extended into a wistful jam reflecting tour fatigue; Edgar Winter Group's "" from July 8, 1998, also at Zeleste, erupting into a high-energy instrumental showcase with crowd-surfing and cheers; the traditional "Hello My Baby," performed a cappella on the same Barcelona date, adding humorous levity; Richard Strauss's "" (the "2001" theme) from August 17, 1997, at The Great Went, launching a funky segue into "Down with Disease" amid fireworks and roars from 35,000 attendees; and ' "" from August 16, 1998, at Lemonwheel in , closing the second set with emotional guitar leads and a reverent . Frank Zappa's "" is nodded to in improvisations during the 1997 tour, influencing the band's jazz-fusion explorations. The film's emotional climax arrives with the performance of the original "Bittersweet Motel" on August 16, 1998, at Lemonwheel, serving as the title track and resolver amid the tour's highs and lows; this seven-minute , with its poignant and swelling harmonies, draws a hushed, appreciative response from the festival crowd, encapsulating Phish's blend of introspection and communal joy. These performances, drawn from venues like and Star Lake Amphitheatre during the 1997 summer run, illustrate the band's ability to transform structured songs into epic narratives, often exceeding 20 minutes through collective improvisation.
PerformanceTypeDate & VenueHighlights
Roses Are FreeCover (Ween)Dec 11, 1997; Rochester War Memorial, NYDebut; funky jam >10 min; rehearsal montage
When the Circus Comes to TownCover ()Jul 9, 1998; Zeleste, Barcelona, Wistful extension reflecting tour life
FrankensteinCover ( Group)Jul 8, 1998; Zeleste, , High-energy instrumental; crowd energy
Loving CupCover ()Aug 16, 1997; The Great Went, , MERollicking encore; festival closer
Hello My BabyCover (Traditional)Jul 9, 1998; Zeleste, , A cappella humor; pre-show levity
2001 (Also Sprach Zarathustra)Cover ()Aug 17, 1997; The Great Went, , MEFunky segue; fireworks amid 35,000 fans
While My Guitar Gently WeepsCover ()Aug 16, 1998; Lemonwheel, , MEEmotional set closer; sing-along
Bittersweet MotelOriginalAug 16, 1998; Lemonwheel, , MEBallad; emotional peak, ~7 min

Release and Distribution

Premiere and Theatrical Run

Bittersweet Motel had its world premiere on August 25, 2000, in select U.S. theaters, coinciding with Phish's active summer and fall tour schedule to leverage fan enthusiasm and promote synergy between the band's live performances and the documentary's release. The film received an independent limited release through Stranger Than Fiction Films, targeting art-house theaters and music-oriented venues rather than wide commercial distribution. Screenings were held in key locations such as and —Phish's hometown—to capitalize on regional fan bases and cultural ties. The documentary runs 82 minutes and was released unrated, though its content, including concert footage with occasional profane language, positioned it for mature audiences familiar with Phish's improvisational rock style. At the , Bittersweet Motel earned a modest $391,653 domestically over its theatrical run, reflecting its niche appeal and reliance on dedicated Phish followers for attendance rather than broad mainstream draw. The film's release timing aligned closely with Phish's announcement of a two-year hiatus in late September 2000, adding a layer of poignancy as it captured at a transitional moment.

Home Media Formats

The home video release of Bittersweet Motel occurred on March 6, 2001, in both DVD and formats, distributed by Image Entertainment. The DVD edition supports 5.1 and DTS options, enhancing the audio experience of the band's live performances and interviews. Both formats include bonus content extending beyond the theatrical cut, such as over 35 minutes of additional scenes featuring full-length live performances like "Punch You in the Eye" from December 11, 1997, at the Rochester War Memorial; ""; and "Big Fat Furry Creature from Mars," alongside band interviews, behind-the-scenes tour footage, and an interview with director . Technically, the release preserves the film's original 1.85:1 in a letterboxed presentation, though the early DVD is non-anamorphic, requiring compatible displays for optimal viewing. Over time, availability has evolved through fan-driven efforts, with upscaled versions of the film and extras integrated into community archives and appearing on platforms like by 2023, often via AI remastering to improve visual quality.

Reception and Legacy

Critical Reviews

Upon its release, Bittersweet Motel received mixed reviews from critics, earning a 63% approval rating on based on eight reviews. The film was praised for its authentic portrayal of Phish's touring energy and communal spirit, with director lauded for creating an intimate, behind-the-scenes view of the band's lifestyle and performances. For instance, highlighted the documentary's enjoyment value even for non-fans, noting its effective capture of Phish's jam-band camaraderie during rehearsals and the massive Great Went festival. Reviewers appreciated sequences like the Great Went footage, which showcased the band's improvisational prowess and fan devotion in a vivid, large-scale setting. However, criticisms centered on the film's perceived lack of depth and insider focus, often failing to explore band dynamics or broader context beyond enthusiasts. described it as "bland and unrevealing," emphasizing its heavy reliance on lead singer while sidelining the other members and offering limited insight into the group's creative process or challenges. Variety noted that, while well-crafted as a tour diary, the documentary did little to convert skeptics, lacking the probing analysis found in more comprehensive music films like . The overall Metascore of 47 reflected this divide, with 59% of 17 reviews deemed mixed. Audience reception was more favorable among Phish fans, with an user rating of 7.7 out of 10 from over 800 votes, underscoring its strong appeal to the jam-band community. Critics generally agreed that Bittersweet Motel succeeded as a niche to 's road life and musical vitality but struggled to achieve mainstream resonance due to its specialized subject matter.

Cultural Impact

Bittersweet Motel has solidified its place in 's lore as a capturing the band's dynamic during their late-1990s peak, just before the group's 2004 hiatus, offering fans a glimpse into the pre-hiatus era of intense touring and internal tensions. Released in amid growing rumors of a potential , the documentary boosted interest in 's archival material by showcasing raw tour footage from 1997 and 1998, including performances at events like the Great Went festival. This portrayal of the band's "1.0 era" has influenced fan narratives around 's evolution, serving as a reference point for discussions on their creative zenith and interpersonal chemistry. Within the Phish fan community, the film has sparked ongoing engagement, including references in fan-compiled resources like The Phish Companion: A Guide to the Band and Their Music, where it is highlighted for documenting tour experiences and band dynamics. Fans have created unofficial edits and shared clips, particularly on platforms like , fostering discussions about the documentary's authentic depiction of 's unique despite its divisive elements, such as its focus on band antics over musical depth. These interactions have made Bittersweet Motel an entry point for newer generations, reinforcing its role in preserving and analyzing 's touring heritage. The documentary contributed to the broader landscape of band-specific films by paving the way for subsequent Phish projects, such as the 2019 release Between Me and My Mind, which directors contrasted with Bittersweet Motel as a more introspective follow-up two decades later. Director Todd Phillips used the project as a launchpad for his shift from nonfiction to narrative filmmaking, moving on to comedies like Road Trip (2000) and later The Hangover (2009), where his experience capturing chaotic group dynamics informed his style. This transition underscored Bittersweet Motel's indirect influence on music documentary trends, emphasizing access to artists' personal lives. In terms of lasting events, Bittersweet Motel has seen revivals through unofficial digital screenings and uploads in the , including AI-upscaled versions on that have garnered tens of thousands of views amid the streaming era's resurgence of archival content. Post-2000, it has been referenced and screened informally at Phish-related gatherings, tying into the film's titular song from the band's 1998 album and its themes of transient touring life. In , the film marked its 25th anniversary with fan celebrations and posts highlighting its enduring legacy. These efforts have sustained its cultural footprint, bridging Phish's past and present fanbase.

References

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  2. https://www.imdb.com/title/tt0168515/
  3. https://www.amazon.com/Phish-Bittersweet-Motel-Trey-Anastasio/dp/B000059H8N
  4. https://www.gadiel.com/phish/articles/rollingstone.html
  5. https://phish.net/song/bittersweet-motel
  6. https://www.rottentomatoes.com/m/bittersweet_motel
  7. https://www.newyorker.com/magazine/2025/04/21/after-forty-years-phish-isnt-seeking-resolution
  8. https://trouserpress.com/reviews/phish/
  9. https://xpn.org/artist/phish/
  10. https://cpren56.wordpress.com/2015/05/06/phish/
  11. https://liveforlivemusic.com/features/tracing-evolution-jam-grateful-dead-phish-disco-biscuits/
  12. https://www.heavyblogisheavy.com/2018/01/22/in-defense-of-phish/
  13. https://www.rollingstone.com/music/music-features/phish-bakers-dozen-msg-shows-194111/
  14. https://ultimateclassicrock.com/phish-the-great-went/
  15. https://phish.net/faq/great-went
  16. https://www.gq.com/story/four-days-with-phish
  17. https://www.rollingstone.com/music/music-news/phish-release-seven-cd-box-set-from-historic-fall-1997-tour-254785/
  18. https://acrossthemargin.com/phish-destroys-america/
  19. https://tomorrowsverse.com/story/tour-diary-a-look-back-at-phish-europe-98-in-words-and-pictures-14465.html
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  22. https://www.latimes.com/archives/la-xpm-2000-sep-29-ca-28354-story.html
  23. https://brobible.com/culture/article/todd-phillips-bittersweet-motel-phish/
  24. https://jambands.com/features/2000/09/15/when-the-only-tool-you-have-is-a-hammer-todd-phillips-bittersweet-motel/
  25. https://phish.com/release/bittersweet-motel/
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  28. https://phish.com/news/bittersweet-motel-on-dvd-and-vhs/
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  30. https://phish.com/tours/dates/sat-1997-08-16-the-great-went-loring-air-force-base/
  31. https://www.austinchronicle.com/screens/bittersweet-motel-11916176/
  32. https://www.jambase.com/article/phish-debuts-roses-are-free-in-rochester-in-1997
  33. https://phish.net/setlist/phish-december-11-1997-rochester-war-memorial-rochester-ny-usa.html
  34. https://phish.com/tours/dates/thu-1998-7-09-zeleste/
  35. https://phish.com/tours/dates/wed-1998-07-08-zeleste/
  36. https://phish.net/song/while-my-guitar-gently-weeps
  37. https://phish.net/setlist/phish-august-16-1998-loring-commerce-centre-limestone-me-usa.html
  38. https://www.glidemagazine.com/71072/the-b-list-10-notable-changes-since-the-release-of-phish-documentary-bittersweet-motel/
  39. https://glidemagazine.com/71072/the-b-list-10-notable-changes-since-the-release-of-phish-documentary-bittersweet-motel/
  40. https://www.boxofficemojo.com/title/tt0168515/
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  43. https://www.bibleinmylanguage.com/phish-bittersweet-motel-dvd-video-2001/
  44. https://www.youtube.com/watch?v=xAU6D2lk14A
  45. https://variety.com/2000/film/reviews/bittersweet-motel-1200463669/
  46. https://www.metacritic.com/movie/bittersweet-motel/critic-reviews/
  47. https://phish.net/blog/1330162034/foreword-by-jane-ambrose
  48. https://www.businessinsider.com/phish-trey-anastasio-documentary-between-me-and-my-mind-movie-review-2019-7
  49. https://www.theringer.com/2019/10/03/movies/joker-director-todd-phillips-history-hangover
  50. https://www.youtube.com/watch?v=HuXHrKkJwS4
  51. https://www.instagram.com/p/DNyMz3-4odS/
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