Charlie Banks, chronically unemployed, struggles to find dignity and a meaning for life in the impoverished Los Angeles neighborhood of Watts.

In the course of a botched purse-snatching, a boy comes to question the path of his life. Billy Woodberry’s second film, and first completed in 16mm, adapts Langston Hughes’ short story, Thank You, Ma’am, and features music by Leadbelly, Thelonious Monk and Miles Davis. (Ross Lipman)

Are even the best and brightest revolutionary movements doomed to inevitable compromise, betrayal and failure? That question haunts this documentary, a biography of Angolan-born Mário Pinto de Andrade (1928–1990), a key figure in African revolutionary and anti-colonial struggles.

A journey into the life and work of beat poet and activist Bob Kaufman and his insistence that poetry is fundamental to humanity's moral survival.

A journey into the life and work of beat poet and activist Bob Kaufman and his insistence that poetry is fundamental to humanity's moral survival.

Charlie Banks, chronically unemployed, struggles to find dignity and a meaning for life in the impoverished Los Angeles neighborhood of Watts.

Charlie Banks, chronically unemployed, struggles to find dignity and a meaning for life in the impoverished Los Angeles neighborhood of Watts.

The film uses a collection of post-World War II black & white photographs to portray the dockworkers of Marseilles, many of whom were of African descent. Set in and around a 1947 strike protesting weapons shipments to the French in Indochina, the images evoke the life and work of Senegalese filmmaker, Ousmane Sembène, a former dockworker, and one of the founding figures of the New African Cinema of the 1960s.

The film uses a collection of post-World War II black & white photographs to portray the dockworkers of Marseilles, many of whom were of African descent. Set in and around a 1947 strike protesting weapons shipments to the French in Indochina, the images evoke the life and work of Senegalese filmmaker, Ousmane Sembène, a former dockworker, and one of the founding figures of the New African Cinema of the 1960s.

The film uses a collection of post-World War II black & white photographs to portray the dockworkers of Marseilles, many of whom were of African descent. Set in and around a 1947 strike protesting weapons shipments to the French in Indochina, the images evoke the life and work of Senegalese filmmaker, Ousmane Sembène, a former dockworker, and one of the founding figures of the New African Cinema of the 1960s.