Coming Attractions 2020








Spike Lee is first black person to lead Cannes Film Festival jury

Lee succeeds Alejandro G. Iñárritu, whose 2019 jury awarded the Palme d’Or to Korean director Bong Joon-ho’s “Parasite.”
Image: Spike Lee

Spike Lee poses during a photo call for the film “BlacK Klansman” at the 71st edition of the Cannes Film Festival in Cannes, southern France on May 15, 2018.Alberto Pizzoli / AFP – Getty Images

By Gwen Aviles

“BlacK Klansman” director Spike Lee will lead the Cannes Film Festival’s 2020 jury, the festival announced on Tuesday.

Lee will be the first black person in the French festival’s 73-history to serve as jury president, presiding over the body of artists who choose which films will receive an award. He succeeds Alejandro G. Iñárritu, whose 2019 jury awarded the Palme d’Or, the highest prize awarded at the film festival, to Korean director Bong Joon-ho’s “Parasite.”

“In this life I have lived, my biggest blessings have been when they arrived unexpected, 
when they happened out of nowhere,” Lee wrote in a statement. “When I got the call that I was offered the opportunity to be President of Cannes Jury for 2020, I was shocked, happy, surprised and proud all at the same time.”

Lee, 62, has a long-established history with the festival, dating back to 1986, when his first feature film “She’s Gotta Have It” won the Prix de la Jeunesse in the
 Director’s Fortnight. Several of his subsequent films, including “Do the Right Thing” (1989), “Jungle Fever” (1991), “Summer of Sam” (1999) and “Ten Minutes Older” (2002) have also been recognized by the festival in various capacities. Lee’s latest movie, “”BlacK Klansman” (2018), won the Grand Prix at Cannes, which Lee credits with being the “launching pad” for the film’s global theatrical release and 2019 Academy Award win for best adapted screenplay.

Ava DuVernay Celebrates Black History Month with Black Cinema
By BGN Staff -January 18, 20200405
ARRAY

Premiering on Netflix February 5th is They’ve Gotta Have Us, a dynamic chronicle of art, activism and race in Black Cinema featuring in-depth interviews with some of Hollywood’s most iconic voices.
They’ve Gotta Have Us was conceived, produced and directed by Simon Frederick, a UK-based self-taught artist, photographer, filmmaker and broadcaster. The series features revealing interviews with many barrier-breaking filmmakers and stars, including Diahann Carroll, John Singleton, Kasi Lemmons, John Boyega, Harry Belafonte, Robert Townsend, David Oyelowo, Whoopi Goldberg, Laurence Fishburne, and Barry Jenkins.

The series also includes clips from and commentary about such seminal films as Carmen Jones, Claudine, Lilies of the Field, Do The Right Thing, Boyz in the Hood, Hollywood Shuffle, Black Panther and Moonlight.

“As a company whose mission is to amplify the voices of people of color, They’ve Gotta Have Us speaks directly to our highest ideas of inclusion, cultural context and community. Not only are we introducing an exciting artist like Simon Frederick to a new audience, but his project shares the stories of Black Cinema’s most influential filmmakers and actors,” said ARRAY President Tilane Jones.

ARRAY was founded in 2010 by Ava DuVernay.

The 20th Annual Harlem Film Institute Film Festival

Welcome to our 20th Annual film festival. We  kick off the festival with a film dear to my heart. The Harlem Film institute celebrates its 20th anniversary, with the screening of a film i made more than 30 years ago.  “No Place to Cry” stars Exonerated 5 Korey Wise, at the tender age of 12. In light of recent events,  we felt this film would be the perfect way to exalt our 20 years of serving independent filmmakers.   

“No Place to Cry” Directed by Melvin Best

1999 FILM FESTIVAL PROGRAM

AWARD WINNERS

HFI Hall of Fame

1999- Oscar Micheaux

2000- Melvin Van  Peebles

2001-Gordon Parks (1912-2006)

2002 -Noble Johnson (1881-1978 )

2003-Spencer Williams (1893-1969)

2004-Ivan Dixon (1931-2009)

2005-Sidney Poitier

2006-Clarence Muse (1889-1979)

2006-Charles Burnett

2007-Kathleen Collins (1942-1988)

2007-William Greaves (1926-2014)

2008-Michael Schultz

2009-Maya Angelou (1928-2014)

2010-Spike Lee

2011-Julie Dash

2012-Robert Townsend

2013-Reggie Hudlin

2014-Steve McQueen

2015-F Gary Gray

2016-Barry Jenkins

2017-Albert Hughes

2018-Warrington Hudlin

2019-John Singleton (1968-2019)

The 20th Annual Harlem Film Institute Film Festival Promo

On August 20, 2019 the Harlem Film institute celebrates its 20th anniversary, with the screening of a film i made more than 30 years ago.  “No Place to Cry” stars Exonerated 5 Korey Wise, at the tender age of 12. In light of recent events we felt this film would be the perfect way to exalt our 20 years of serving independent filmmakers.  

African Pride

The first time I smelled the smoke it caught me off guard. The tainted air was slowly
filling up my lungs, and I began to cough aggressively as a result of it. No one came to my
rescue, so I suffered in silence as the light burns made their way to my ear. Five hours later, I
was freed from the bondage of the room, but when I came out, I was unrecognizable. This is a
story that is well-known to many black girls around the world; this is the story of the first time I
got my hair straightened. Although it was a tedious journey, with intense detangling and
uncomfortable heat, I underwent it to look “beautiful.” But this definition of beauty always
seemed strange to me. In elementary school, most of the television shows and commercials that I
saw had black female actresses with long, straight hair. My hair was pretty long, but my mom
never really urged me to straighten it because she too had natural hair, in the form of locks.
However, I wanted to look like my peers and my favorite actresses on television so I begged my
mother to get my hair straightened for my fifth-grade graduation, and I became hooked all
throughout middle school.
One definition of language is “a system of communication used by a particular
community.” Language is something that can either bind us or separate us from one another. For
a long time, words to describe black women’s natural hair in the workplace were unprofessional,
unkept, dirty, and nappy, to name a few. This type of language demoted our value and caused us
to change our outer appearance to fit in with society. I was a bi-product of this culture, and I subconsciously believed that when my hair was straightened, I was more presentable. The false
teachings regarding the way our hair should look and the overall definition of good hair and bad
hair has created a culture that tells us we will not be accepted unless we resembled the
Europeans.
The hot comb was actually invented by the French as a way to copy the styles of ancient
Egyptians, but Madame C.J. Walker, the first African-American millionaire, transformed and
patented it to better suit the tighter coils that our hair has. Although it was widely supported by
the black community, the notion behind it and the damage it caused to our hair and scalps was
extremely negative. My father, who also had long locks, would come home from work and find
me in the restroom flat ironing my hair. He would make jokes like, “Who’s barbecuing?” and
then he eventually got serious and asked me why I felt the need to straighten my beautiful curls. I
would always shrug him off and continue to improperly apply heat to it. I lost so much hair in the
process, and I even inflicted minor burns that left scabs. My length soon went from the middle of
my back to just at my shoulders. I learned that in order for me to grow my hair back healthily, I
would have to start fresh. I knew I would have to find a different way to do my hair, and I
needed to learn a different language, one that did not equate my natural hair to something of
lesser value.
Although it uses some of the same words as the English language, the natural hair
language is a substantive system of communication for males and females in the black
community. The more elementary definition of natural hair is hair that has not been processed by
any chemical straighteners, such as perms or relaxers. The website “Hype Hair” did a great job at
the listing and defining of some of the common words, phrases, and terminology used in this hair language. It all starts with putting a description on your hair type. The common system used to
describe our hair type from loose waves to tight curls was created by Oprah Winfrey’s hair
stylist, Andre Walker. It is formally named the ‘Hair Typing System.’ When I began on the
journey of restoring my hair, I had to do something known as the Big Chop, which is essentially
cutting off your relaxed hair. I remember sitting in the salon and watching roughly five inches of
my damaged hair fall to the floor like the leaves of autumn. It had to be done so that I could
figure out what my original hair type truly was. Over a couple of months, I was reintroduced to
my 4c hair, which is tighter, coiled hair, and I experimented with different hair products to create
styles that would promote healthy hair growth. As I slowly weaned myself off of the flat-iron, I
had begun to see the beauty in my curls.
The beauty of a black woman’s hair is all in its versatility. In high school, some days I
would come to class with my hair straightened. Other days it would be in a protective style, such
as box braids, and because I attended a predominantly white school, it would always fascinate
my peers and teachers. I would get remarks such as, “Wow, did your hair grow!” or “Can I touch
it?” The answer to both of these questions would be ‘no’ but I realized that I had to be
comfortable with verbalizing my different styles because many of the individuals inquiring about
my luscious curls were not exposed to them before they met me. I had to use the language that I
learned in middle school to tell my story. I had to sit in front of the mirror and believe that the
plot was beautiful, not because of the style of my hair but because of the content of my character.
Nevertheless, as long as it is still growing out of my head, I have to appreciate that there is
energy in my coils; I finally found pride in my African roots.                                                                                                              By Destini Best.

Coming Attractions 2019

2018’s 10 highest-grossing films in the US, from ‘Black Panther’ to ‘The Grinch’ and ‘Avengers: Infinity War’
It was the biggest year at the box office in North America of all time, with Disney dominating the list with five movies in the top 10.

2018 saw the biggest year for the North American box office. It’s expected to hit US$11.8 billion by year’s end, surpassing 2016’s then-record take of US$11.38 billion.

Between massive blockbusters like Avengers: Infinity War and surprise hits like A Quiet Place, 2018 proved that audiences still get excited to go to the movies.

From Black Panther to The Grinch, we’ve rounded up the biggest movies of the year, based on figures from Box Office Mojo. Disney dominated 2018 with five movies in the top 10.

What is your favourite Stan Lee film cameo?

Below are the 10 highest-grossing movies in the US of 2018:

10. Venom

Domestic total: US$213,030,843

Worldwide total: US$854,982,569

Opening weekend: US$80,255,756

9. Solo: A Star Wars Story

Domestic total: US$213,767,512

Worldwide total: US$392,924,807

Opening weekend: US$84,420,489

8. Ant-Man and the Wasp

Domestic total: US$216,648,740

Worldwide total: US$622,674,139

Opening weekend: US$75,812,205

How Chinese pop star G.E.M. inspired Stan Lee’s last superhero

7. Mission: Impossible — Fallout

Domestic total: US$220,159,104

Worldwide total: US$791,017,452

Opening weekend: US$61,236,534

6. The Grinch

Domestic total: US$257,900,050

Worldwide total: US$427,200,050

Opening weekend: US$67,572,855

5. Deadpool 2

Domestic total: US$318,491,426

Worldwide total: US$741,516,406

Opening weekend: US$125,507,153

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4. Jurassic World: Fallen Kingdom

Domestic total: US$416,769,345

Worldwide total: US$1,304,944,060

Opening weekend: US$148,024,610

3. Incredibles 2

Domestic total: US$608,581,744

Worldwide total: US$1,242,513,600

Opening weekend: US$182,687,905

2. Avengers: Infinity War

Domestic total: US$678,815,482

Worldwide total: US$2,048,709,917

Opening weekend: US$257,698,183

1. Black Panther

Domestic total: US$700,059,566

Worldwide total: US$1,346,913,161

Opening weekend: US$202,003,951

Just make more Black films