Mal Waldron

The film concerns the famed 19th century French writer, proto feminist George Sand, in discussion with the new early 1970s feminist movement and a critique of the limitations of her progressivism.

When his wife leaves him, a young French actor, François Combe, moves to New York to work for a television company. One evening, he meets an attractive young woman, Kay Larsi, in a bar.

A fifteen-year-old boy wants to buy a gun from an adult racketeer named Priest, in order to become president of the gang to which he belongs, and to return them to active "bopping" (gang fighting) which has declined in Harlem.

"Mal, a Portrait of Mal Waldron" examines the life and contributions of legendary jazz pianist Mal Waldron.

The work of sculptor Inge Hardison is the subject of this beautiful short portrait of an artist. Hardison is perhaps best known for "Negro Giants in History," her important series of busts made during the early 1960s. Hands of Inge was edited by Hortense "Tee" Beveridge, a pioneer in her field who worked in the commercial industry and on independent, non-commercial films such as Amiri Baraka's 1968 film "The New-Ark". In the mid-1950s Beveridge became the first Black woman to gain admission to Local 771, the motion picture editors union.

Oki fuses documentary elements with narrative filmmaking to such a point that it's difficult to distinguish one from the other. The film is both the story of two men falling in love with each other on a beach, and a faithful document to the filmmaking process. In the film within a film titled "Gay Couple Trying to Connect on the Beach", the documentary footage of director Hiroyuki Oki will be double and triple transcribed. The documentary film explores the relationship between the director and the world, as well as interviews with friends. Soon the director realizes that "kokoro" is not what is inside of him, but the feeling that arises when confronted with something.

A retrospective of events in director Louis van Gasteren’s life from 1964 to 1969, filmed by him in that period and reflected on from his vantage point over 40 years later at the age of 90.

A loose fictitious of Charlie Parker's last years and a portrait of the jazz scene in 1960's New York. A black jazz musician bent on self destruction forms an odd friendship with a white college professor full of feeling sorry for himself.