The Black middle class, torn between white goals and Black needs, are examined by producers William Greaves and William Branch in a 90-minute NET Journal documentary.
A documentary chronicling the pioneering efforts of black filmmaker William D. Foster in the early years of the industry and Oscar Micheaux's controversial impact on the subsequent "race movies".
Where does voguing come from, and what, exactly, is throwing shade? This landmark documentary provides a vibrant snapshot of the 1980s through the eyes of New York City's African American and Latinx Harlem drag-ball scene.
Ossie Davis, Terry McMillan, Horace Julian Bond, Isaac Hayes, Dionne Warwick and many others share their inspiring stories of success in the first installment of this series about African-American history makers, including civil rights leaders, actors and authors.
THE BLACK LIST: VOL. 2 profiles some of today's most fascinating African-Americans. From the childhood inspirations that shaped their ambitions, to the evolving American landscape they helped define, to the importance of preserving a unique cultural identity for future generations, these prominent individuals offer a unique look into the zeitgeist of black America, redefining the traditional pejorative notion of a blacklist.
An exploration of the history of the word throughout its inception to present day. Woven into the narrative are poetry, music, and commentary from celebrities about their personal experiences with the word and their viewpoints.
Gripping, heartbreaking, and ultimately hopeful, Waiting for Superman is an impassioned indictment of the American school system from An Inconvenient Truth director Davis Guggenheim.
Documentary by Juan Francisco de Lasa about a pioneer of Spanish cinema. Gelabert attended one of the first sessions of the Lumière's cinématographe in Barcelona.
Sam Moran is a Honolulu charter-boat captain who leads fishing expeditions in the tropical paradise. When his daughter is found murdered at the party of a wealthy young playboy, he seeks the truth about the murder.
Centring on the legend of the four ancient Chinese heroines, the film was a novelty for audiences at the time, as the singing performance was in Cantonese and used huangmei operatic rhythms—a popular trend in the 1960s, yet it retained traditional flavours by using operatic luogu percussion in the battle scenes.