The White Album

The Black Audio Film Collective’s seventh film envisioned the death and life of the African American revolutionary as a seven part study in iconography as narrated by novelist Toni Cade Bambara and actor Giancarlo Espesito. The stylized tableaux vivants that memorialise Malcolm’s life referenced the early 20th century funeral photography of James Van der Zee’s The Harlem Book of the Dead and the elemental static cinematography of Sergei Paradjanov’s The Colour of Pomegranates.

The career of iconic and influential poet and writer Audre Lorde is seen up until death.

Martin Scorsese traces the roots of the blues from the Mississippi Delta back to West Africa, journeying from the juke joints of Mississippi to the banks of the Niger River in Mali. Featuring performances by Corey Harris, Taj Mahal, Keb’ Mo’, and Ali Farka Touré, along with rare archival footage of blues legends like Son House and Muddy Waters, the film offers a lyrical portrait of the music’s deep African origins.

A reflection on Jafa's desire to craft a "black cinema" that is responsive to the "existential, political, and spiritual dimensions" of Black life. Comprised of found footage sampled from films, newscasts, sporting events, music videos, and citizen videos, all of it downloaded from the Internet, the clips have been woven together and set to Kanye West's anthem "Ultralight Beam." Together the images and music make for an intense, poignant meditation on African American life in the twentieth-century. This history is also the history, by necessity, of racism and prejudice.

A tribute to the controversial black activist and leader of the struggle for black liberation. He hit bottom during his imprisonment in the '50s, he became a Black Muslim and then a leader in the Nation of Islam. His assassination in 1965 left a legacy of self-determination and racial pride.

The Blues (2003) is a seven-part documentary series produced by Martin Scorsese that explores the history and influence of blues music. Each episode, directed by a different filmmaker, traces a unique aspect of the genre’s evolution—from its African roots to its global impact. Originally airing on PBS, the series includes Scorsese’s Feel Like Going Home, Wim Wenders’ The Soul of a Man, Richard Pearce’s The Road to Memphis, Charles Burnett’s Warming by the Devil’s Fire, Marc Levin’s Godfathers and Sons, Mike Figgis’ Red, White and Blues, and Clint Eastwood’s Piano Blues.

After Dr. Bill Harford's wife, Alice, admits to having sexual fantasies about a man she met, Bill becomes obsessed with having a sexual encounter. He discovers an underground sexual group and attends one of their meetings -- and quickly discovers that he is in over his head.

A young African-American man, living in Los Angeles without direction in his life, reluctantly agrees to be the best man for his brother, an upwardly mobile lawyer.

Malian filmmaker and New York University professor, Manthia Diawara critiques visual anthropology through the work of Jean Rouch.

From Spike Lee comes this vibrant semi-autobiographical portrait of a school-teacher, her stubborn jazz-musician husband and their five kids living in '70s Brooklyn.

Shadows of Liberty presents the phenomenal true story of today's disintegrating freedoms within the U.S. media, and government, that they don't want you to see. The film takes an intrepid journey through the darker corridors of the American media landscape, where global media conglomerates exercise extraordinary political, social, and economic power. The overwhelming collective power of these firms raises troubling questions about democracy. Highly revealing interviews, actuality, and archive material, tell insider accounts of a broken media system, where journalists are prevented from pursuing controversial news stories, people are censored for speaking out against abuses of government power, and individual lives are shattered as the arena for public expression has been turned into a private profit zone

In 1902, a Gullah family on the Sea Islands off South Carolina decide whether to migrate to the mainland, risking their unique cultural heritage.

Fifty years after Martin Luther King delivered his “I Have a Dream” speech, a collective of African American filmmakers, artists, and intellectuals reflect on the goals and ambitions of the civil rights movement and where things stand today.

“Draw or Die” is the divine imperative received by the painter, Hannah, who is being nurtured by her Grandmother, but controlled by her pragmatic mother. When her Granny spirit shouts this command to Hannah, she closes a celebration of personal visions in a dance piece that is close to visionary in itself.

It's a hot summer day in June 1969. Marsha plans a birthday party for herself, but no one shows up. Sylvia, Marsha's best friend, suggests they meet at Stonewall instead, where Marsha can perform. When the police arrive to raid the bar, Marsha is among the first to fight back.

Numa Perrier reimagines the story and moments in a distinct photograph of her mother. What results is a complex merging of memory, absence, and imagery set against the backdrop of Port Au Prince, Haiti.