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With his trademark mixture of empathy and scrutiny, Errol Morris (The Thin Blue Line) has changed the face of documentary filmmaking in the United States, and his career began with two remarkable tales of American eccentricity: Gates of Heaven and Vernon, Florida. The first uses two Southern California pet cemeteries as the bases for a profound and funny rumination on love, loss, and industry; the second travels to a languorous southern backwater and meets a handful of fascinating folks – a determined turkey hunter, a curious minister, a laconic policeman – engaged in individualistic, sometimes absurd pursuits. Morris consistently creates humane portraits of true candor, and these early works remain two of his greatest and most provocative films.