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The Final Academy Documents (1984)
Documentation of the showcase titled 'The Final Academy', filmed on October 4, 1982 in The Haçienda, Manchester. Video 1 features the movies "Towers Open Fire" and "Ghosts at No. 9", video 2 features Burroughs' readings and performances by John Giorno and Brion Gysin.
Documentation of the showcase titled 'The Final Academy', filmed on October 4, 1982 in The Haçienda, Manchester. Video 1 features the movies "Towers Open Fire" and "Ghosts at No. 9", video 2 features Burroughs' readings and performances by John Giorno and Brion Gysin.
The film documents an avant-garde, counter-cultural art event, and its dominant themes of challenging societal norms and anti-establishment artistic expression align with left-leaning values, though it does not explicitly promote a political ideology.
Based on the limited information available for 'The Final Academy Documents' and considering the historical context of its director's work, the film is assessed as likely featuring traditional casting and a narrative that does not explicitly critique traditional identities or center on DEI themes.
The film, through its documentation of counter-cultural performances and figures, implicitly critiques established religious institutions, particularly Christianity, portraying them as oppressive or hypocritical. The narrative aligns with a rejection of conventional religious dogma.
The Final Academy Documents is an experimental film that does not depict identifiable LGBTQ+ characters or themes. Its focus lies in surrealism, avant-garde techniques, and abstract concepts rather than character-driven narratives concerning sexual orientation or gender identity.
The Final Academy Documents is a documentary film capturing a performance art event from 1984. It does not contain any identifiable transsexual characters or themes, focusing instead on the artists and their performances from the industrial music scene of the mid-1980s.
The movie does not contain any action or adventure elements.
This experimental documentary features real historical figures, primarily William S. Burroughs, Brion Gysin, and John Giorno, performing. There is no evidence of any of these historically male individuals being portrayed as a different gender on screen.
This film is a documentary recording a live performance by real individuals. It does not feature fictional characters adapted from source material or historical figures being re-interpreted, thus the concept of a race swap does not apply.
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