News

  • Film

Docs: “The Automat”: The Story of a Legendary Cafeteria and Bygone Lifestyle

Once upon a time … Americans sipped coffee and ate pie around communal tables at the Horn & Hardart’s iconic Automat, where they could share their struggles and dreams with strangers they had never met before (and would never see again). Lifetimes ago, these largely working-class palaces nourished a sense of unity and community that bridged diverse social classes, languages, genders and races in the increasingly rising urban melting pots of the East Coast.
  • HFPA

HFPA & NAACP Enter Groundbreaking Multi-Year Partnership

The NAACP and the Hollywood Foreign Press Association (HFPA)announced a five-year collaborative partnership, joining forces in an effort to increase diversity, equity, and inclusion across the global entertainment industry.   Each year the HFPA and the NAACP Hollywood Bureau will collaborate on, fund, and support a series of trailblazing initiatives, with the overall goals of: Ensuring visibility of projects from artists of diverse racial and ethnic backgrounds; Increasing diverse representation in the industry; Building pathways to inclusion for young artists and journalists of color.
  • Interviews

Anthony Bawn and Spencer Michael Collins IV on “Velvet Jesus”

Velvet Jesus is a collaboration between African American filmmakers Anthony Bawn and Spencer Michael Collins IV, who created the company VIM Media LLC to create content for their community and tell stories that are not often heard outside it. It turned out that it is not an easy task creating gay African American content, and the team set out to make a difference and create a platform for their community to tell their stories too.
  • Film

Docs: “Becoming Cousteau”: Liz Garbus Chronicles a Legendary Pioneer

In 1956, when the French diving pioneer Jacques-Yves Cousteau (1910-1997) made his documentary, The Silent World, in 1956, it was a novelty in many ways that he himself could not have anticipated. The feature was co-directed by Cousteau, who was then 46, and a young director, Louis Malle, 24, who would go on to become a major voice in French and world cinema (Lacombe Lucien, Atlantic City, Au Revoir les Enfants) in the next three decades.