From the creator and director of the critically acclaimed documentary Dark Girls, award-winning filmmaker Bill Duke continues the conversation on colorism with Light Girls. Sharing the untold stories and experiences of lighter-skinned women, Light Girls dives deep into the discussion of skin color, preference, privilege, pain and prejudice. The documentary features interviews with Russell Simmons, Soledad O'Brien, Diahann Carroll, India Arie, Iyanla Vanzant, Michaela Angela Davis, Kym Whitley, Salli Richardson-Whitfield and more.
In the 1960s, a white couple living in East Germany tells their dark-skinned child that her skin color is merely a coincidence. As a teenager, she accidentally discovers the truth. Years before, a group of African men came to study in a village nearby. Sigrid, an East German woman, fell in love with Lucien from Togo and became pregnant. But she was already married to Armin. The child is Togolese-East German filmmaker Ines Johnson-Spain. In interviews with Armin and others from her childhood years, she tracks the astonishing strategies of denial her parents, striving for normality, developed following her birth. What sounds like fieldwork about social dislocation becomes an autobiographical essay film and a reflection on themes such as identity, social norms and family ties, viewed from a very personal perspective.
A groundbreaking new documentary that illuminates the untold stories, struggles, and triumphs of Black people in the psychedelic therapy movement. Interest in psychedelic medicine has exploded in recent years, spurred by a resurgence of research and high-profile advocates. Despite the fact that indigenous Black and Brown people have been using these plant medicines for centuries, psychedelic medicine remains a fundamentally white space.
A collectively made filmic opera in 35 parts. The Black and predominantly queer art collective, an evolving line up of poets and artists from across the world, abstracts and reimagines opera in any traditional conception. Set to hip-hop, blues, noise, R&B and electronica, the piece uses the voice (chanting, singing, screaming; written by poet and activist Dawn Lundy Martin) as its primary tool, verbalising centuries of alienation, vulnerability and protest in the global African diaspora through its disruptive libretto.