When the Nashville Film Festival released its scheduled last month, one of the films that peaked my interest was a documentary called “The Bandit” about the friendship between Hal Needham and Burt Reynolds and how that friendship led to “Smokey and the Bandit.”

As a fan of the iconic 1977 movie, I was intrigued to see what stories this documentary could tell.

I’m happy to say this is a must for fans of “Smokey and the Bandit,” but a strong enough film that even those who aren’t fans will enjoy.

“The Bandit” doesn’t just entail information about the 1977 film, it also explores the persona of Reynolds and how Needham rose from fearless stunt man to successful director.

The film provides good insight into the world of a stuntman, as well as showing why Reynolds was the biggest star of the 70s and how some missteps in his career still haunt him today.

The exploration of Reynolds and Needham’s friendship is interesting as well, but perhaps my favorite moment comes from actor Paul Williams on the “Smokey and the Bandit” legacy, “In the south they think of Smokey and the Bandit as a documentary.”

That one line, sums up why 40 years later the film still has a large fanbase.

“The Bandit,” which will be on CMT later this year, gives that fanbase another reason to enjoy their beloved film.

The other film that stood out for me Thursday was “The Violators” an emotional story from writer/director Helen Walsh about Shelly (newcomer Lauren McQueen), a 15-year old caring for her younger brother trying to overcome the scars of an abusive father.

It’s a film with a lot of moving pieces that when the puzzle is revealed provides a gut wrenching payoff.

McQueen is the revelation here, a masterful first performance that expertly conveys Shelly’s vulnerability. There is so much sadness in her eyes that watching Shelly’s ordeal is heartbreaking.

“Artist & Repertoire” was the other film viewed Thursday, a documentary about underground DJ icon, music producer and global trip hop mogul, James Lavelle.

I think anyone not familiar with Lavelle probably won’t find much to like here, with the film feeling more like an extended episode of “Behind the Music” than a feature film.