A gratifying watch, the oddball family dramedy is fundamentally about what it means to re-parent one’s self as an adult.
“Each film in the series, in its own way, provides a more authentic connection to Black women’s expression, stories and experiences,” said Dara Ojugbele, one of the curators of the two-week program at MoMA.
Part of the brilliance of Garrett Bradley’s Time is the way it blurs the lines between past and present, offering an affecting look at the system’s impact on Black families.
With Burning Cane, Youmans became the youngest filmmaker to ever screen at Tribeca Film Festival, nabbing multiple awards and becoming the first Black director to win Best Narrative Feature.
Instead of that soul-crushing feeling I often experience after seeing a “Black struggle film,” Harriet sent me out of the theater feeling empowered.
In a sprawling new photography exhibition at the Ryerson Image Center, the joy of self-definition offers its own form of resistance.
Three new HBO documentaries probe the stories of the Statue of Liberty, the Bronx, and the Apollo Theater.
Thirty years after the release of A Dry White Season, Euzhan Palcy is on a roll with a Barbican retrospective and a slew of recent screenings. Here’s a look back at some of her major works.
After World War II, movie studios like MGM and Paramount found themselves at a crossroads as they adapted to changes brought on by both the war and the advancement of filmmaking technology.
At BlackStar Film Festival, filmmakers of color address topics ranging from immigration, to hip hop, to Audre Lorde’s The Cancer Journals.
The Last Black Man in San Francisco is refreshingly profound in its exploration of the physical and emotional closeness of its lead characters.
Director Pamela B. Green talks about the eight years she spent making Be Natural: The Untold Story of Alice Guy-Blaché and how that journey was both a creative endeavor and archival mission.