William Greaves

A decade after his death, genre-defying filmmaker William Greaves has one last trick up his sleeve with what he considered the most important event he captured on film: a 1972 party he engineered with the living luminaries of the Harlem Renaissance.

A retrospective look at the career of Paul Robeson and his legacy as both an American and a citizen of the world.

In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?

A light-skinned African-American family are "passing" in an all-white New England town. When the truth comes out, the more prejudiced neighbors demand their expulsion from the community.

Joe Louis, portraying himself, is a good influence on a group of Harlem youths who are tempted to "go bad" by a gangster known as Caper, an older brother of one of the youths.

A crooked real estate tycoon tricks a trusting young woman out of her small candy store. When he is found dead, the girl is suspected of the crime.

A struggling songwriter abandons his girlfriend for a flashy woman after landing a hit.

An architect whose iconic buildings defined a newly independent Cambodia struggles to come to terms with the reckless development that threatens his legacy.

A movie about making movies about making movies. In 1968, William Greaves shot several pairs of actors in a scene in which a woman confronts her husband and ends their relationship. In "Take 2 1/2," Greaves starts with 1968 takes of one of these pairs of actors plus footage of the crew discussing the film's progress. Then, 35 years later, Greaves brings back to Central Park those actors and some of the original crew (plus others) to film a reunion of the characters Alice and Freddie. We watch scenes of these characters and discussions among the actors and crew. Greaves explores and dramatizes the dialectic in the creative process.

A documentary on the career of William Greaves, featuring Greaves, his wife and co-producer Louise Archambault, actor Ruby Dee, filmmaker St. Clair Bourne, and film scholar Scott MacDonald. Released within Criterion's Symbiopsychotaxiplasm set.

The film questions whether the Civil Rights Movement of the 1960s effectively changed the Black community, and American society more widely, and examines the notion of Black power itself. Greaves interviewed major Black leaders, such as Franklin Thomas, Clifton Wharton Jr., Eleanor Holmes Norton, and Lerone Bennett Jr. to present a candid take on issues within the African American community, revealing wider societal problems in America at large.

This documentary presents clips from black films from 1929 through 1957.

Unsuccessful gambler 'Dollar Bill' Burton lives in a crummy New York basement room with old friend Bob and a new roommate, friendly blues singer 'Alabama' Lee. But, tired of being broke, Dollar Bill gets more steady employment...doing illegal errands for gangster Bad Boy George. The now prosperous Bill ignores pretty, adoring Etta and takes up with sultry singer Regina. Will Bill's way of life catch up with him? Will his upright friends be more successful in the end?

The epic story of the actors, writers, directors, and producers who fought for their place on the page, behind the camera and on the screen. From blackface to Black Panther, this series is a definitive chronicle of more than a century of the black experience in Hollywood and a powerful reexamination of a quintessentially American story – in brilliant color.