Dynner used the Internet to solicit material from DIY punk scenes all over the world to contribute to the film. Eighty-six minutes in, she includes footage from New Zealand, Serbia, Iceland, Indonesia, Lithuania, Belgium, Russia, Israel, Spain, Croatia, Italy, Finland, Austria, Uruguay, Japan, France, and Australia, capturing the old underground DIY spirit of the early days of punk.

It's this sort of material that makes the film stand out from conventional music documentaries that always feature old-timers proselytizing nostalgically about the old days and harping on about how cool they used to be. There is a fair bit of that in this film, but it's also refreshing to focus on the people and the scene they created rather than the heard-them-once, heard-them-all stories of sex, drugs, and rock 'n' boring roll. (If that's the sort of film you're after, End of the Century: The Story of the Ramones (2003) and New York Doll (2005) do it very well.)

Punk's Not Dead is fast-paced and stylized, observing a scene talking about itself, rather than seeking to box it into a corner. One of the rare subjective interventions by the filmmakers is a brilliant piss-take montage of new generation pop-punk bands bouncing in slow-mo to Johann Strauss's "Blue Danube" waltz. One senses that Dynner is on the side of the oldies, but is still happy to let the new kids have their fun in their own way.

The film spills over into some valuable extras on the DVD that are rightfully cut from the main feature. Had they been kept in, the documentary would have lost its clear through-line and punk aesthetic of being short, fast, and in your face without messing about. The extras sketch out the wider punk scene, looking into punk housing, Jimmy Carter's presidential decree bribing major record labels not to sign punk bands by offering them tax breaks, as well as short histories of legendary punk clubs CBGB (New York), The Roxy (London), and The Masque (LA). They also include outtakes such as one of the aging Adicts falling onstage during a gig and being unable to get up; and some of the interviewees messing around with ventriloquist puppets and telling jokes.

What emerges from the film is that punk isn't so much about the bands or the music. It's a way of life. It's about the people, the social exchange. The bands are just a point of gathering, an inspiration for creating a radical change within each individual subscriber to the punk ideal. Has punk rock changed the world? "I don't know," says Dick Lucas of Subhumans. "It's changed my world and a lot of other people's."