The true life story of Wendell Scott, the first black stock car racing driver to win an upper-tier NASCAR race.
Ralph Ellison was an African-American writer and essayist, who's only novel Invisible Man (1953) gained a wide critical success. Ellison's ambitious journey from a childhood of hardship and poverty to celebrated African American writer is chronicled in this inspiring program through exclusive interviews and personal recollection.
Two young black friends from the same hood thrive a future as artists, but everything changes when the COVID-19 pandemic becomes a global issue and art can no longer be the main source of their income. Even thought, each in their own way, they strugle to continue with their artistic goals, besides the government and the circumstances conspiring against their ambitions.
Sebari Milach is an awareness film aimed at showing the dark ritualistic practices of female circumcision illegally practiced in Africa. This film touches on a true story about a young Ethiopian girl who gets tricked by her mother into getting circumcised at a ritual purification ceremony shortly after her sister passed away from the same practice.
The story of Dr. George Washington Carver (1864-1943), black educator and horticulturist. He is perhaps most well known for developing over 140 products from all parts of the peanut plant, including the shells and husks. He also developed products based on sweet potatoes and soybeans, and developed a cotton hybrid that was named after him.
The Black Album places scrutiny on the notion of "Black Excellence" in a revisionist take.
“I don’t want to feel like it’s only me. I know it’s not only me, because there are others out there…” ‘I Don’t Protest, I Just Dance In My Shadow’ is a short visual essay film by artist animator, Jessica Ashman, about navigating the visual art and animation world as a black face in a white space. Using animation and recorded interviews of eight other women of colour artists, ‘I Don’t Protest, I Just Dance In My Shadow’ is an abstract confessional from the director herself: a visualisation of the joy, frustration, wishes and dreams of what it feels like to be a black women and a woman of colour artist, creating and existing.
The 1920s saw a revolution in technology, the advent of the recording industry, that created the first class of African-American women to sing their way to fame and fortune. Blues divas such as Bessie Smith, Ma Rainey, and Alberta Hunter created and promoted a working-class vision of blues life that provided an alternative to the Victorian gentility of middle-class manners. In their lives and music, blues women presented themselves as strong, independent women who lived hard lives and were unapologetic about their unconventional choices in clothes, recreational activities, and bed partners. Blues singers disseminated a Black feminism that celebrated emotional resilience and sexual pleasure, no matter the source.