Hugh A. Robertson

Two lovers romance is impeded by voodoo in the Caribbean. They are drawn into destructive rites, rituals and practice of Obeah. The young woman is the evil spirits focus. The mighty forces are summoned by a dark priestess. "I'm an Obeah man, I'm not a science man, I see things," says the man, who is known by only one name: Judge.

Two lovers romance is impeded by voodoo in the Caribbean. They are drawn into destructive rites, rituals and practice of Obeah. The young woman is the evil spirits focus. The mighty forces are summoned by a dark priestess. "I'm an Obeah man, I'm not a science man, I see things," says the man, who is known by only one name: Judge.

Two lovers romance is impeded by voodoo in the Caribbean. They are drawn into destructive rites, rituals and practice of Obeah. The young woman is the evil spirits focus. The mighty forces are summoned by a dark priestess. "I'm an Obeah man, I'm not a science man, I see things," says the man, who is known by only one name: Judge.

Young Indian man survives life of violence and crime in Trinidad and Tobago to become part of the political movement towards independence.

Young Indian man survives life of violence and crime in Trinidad and Tobago to become part of the political movement towards independence.

A slick, smooth-talking, womanizing young black DJ falls hard for an enigmatic woman he's just met. Things take a turn for the worse, though, when she is found dead in his apartment. It turns out that she was killed by the local mob, which is trying to frame him for the crime. With the police after him, he calls on some of his old acquaintances to help clear his name and avenge the woman's death.

John Shaft , um investigador durão, é contratado para localizar uma jovem adolescente que foi seqüestrada, mas acaba no meio de uma guerra entre traficantes. A produção foi premiada com um Oscar de Melhor Canção Original.

A behind the scenes look at the filming of the movie Shaft (1971). The movie's director, Gordon Parks is seen directing a couple of fight scenes which he wants to get in as few takes as possible due to the set-up time and the danger involved in the stunt work. He is also seen speaking to the composer of the film score, 'Isaac Hayes', about the overlaying of the music over one of those fight scenes, and what he wants musically for another scene involving the lead character, John Shaft, moving through Times Square. The latter would eventually become the movie's iconic theme music. Being a frenetically paced action movie, he also works closely with the film's editor, Hugh A. Robertson.

A behind the scenes look at the filming of the movie Shaft (1971). The movie's director, Gordon Parks is seen directing a couple of fight scenes which he wants to get in as few takes as possible due to the set-up time and the danger involved in the stunt work. He is also seen speaking to the composer of the film score, 'Isaac Hayes', about the overlaying of the music over one of those fight scenes, and what he wants musically for another scene involving the lead character, John Shaft, moving through Times Square. The latter would eventually become the movie's iconic theme music. Being a frenetically paced action movie, he also works closely with the film's editor, Hugh A. Robertson.

Joe Buck é um simplório jovem texano que decide abandonar seu passado conturbado e se muda para Nova Iorque, onde tentará ganhar a vida como garoto de programa para mulheres ricas. Mas sua excessiva ingenuidade o impedirá de ganhar dinheiro se prostituindo. Em uma de suas caminhadas, encontra Rizzo, um aleijado que sobrevive de pequenos golpes e furtos e com quem terá um laço de amizade. Filme baseado no romance homônimo de James Leo Herlihy, lançado em 1965.

A stripped-down account of a young man's existential reckoning. "As dust hides a mirror, lust hides the self," reads one of the film's Vedanta-sourced intertitles. And indeed, while the Pierre Clementi protagonist's inner life remains obscure, the Saint-Germain-des-Pres neighborhood that offers his temptations appears in harrowing detail.

Twelve-year-old Nick lives with his Uncle Murray, a Mr.Micawber-like Dickensian character who keeps hoping something won't turn up. What turns up is a social worker, who falls in love with Murray and a bit in love with Nick. As the child welfare people try to force Murray to become a conventional man (as the price they demand for allowing him to keep Nick), the nephew, who until now has gloried in his Uncle's iconoclastic approach to life, tries to play mediator. But when he succeeds, he is alarmed by the uncle's willingness to cave in to society in order to save the relationship.

A former comic is on the run from the mob.

Harvey Middleman (Eugene Troobnick), a New York fireman, lives a very ordinary life with his wife (Arlene Golonka) and children. After he rescues a beautiful girl (Patricia Harty) from a fire, he fancies himself to be in love with her, leaving his wife and seeking help, in the process, from a nutty Psychiatrist (Hermione Gingold).

The story of a mentally handicapped middle-aged man and how he, and his elderly parents who must take care of him, manage to get along in New York City.

Vincent Bruce, a war veteran, begins working as an occupational therapist at Poplar Lodge, a private psychiatric facility for wealthy people where he meets Lilith Arthur, a charming young woman suffering from schizophrenia, whose fragile beauty captivates all who meet her.

Olhar documental no Harlem, horrores da vida do gueto, favela cheia de drogas, violência, miséria humana, e um sentimento de desespero devido a preconceitos raciais da sociedade americana. Não há paternalista da raça negra no cinema para este grito de justiça. Um garota de 15 anos chamado Duke é ambicioso para comprar um "pedaço" (arma) de um mafioso para se tornar presidente da turma a que pertence.

Uma história verdadeira. A jovem Helen Keller (Patty Duke), cega, surda e muda desde a infância, corre o risco de ser enviada para uma instituição. A incapacidade de comunicar deixou sua frustração e violência. Em desespero, seus pais procuram ajuda do Instituto Perkins, o que lhes envia uma "aluna Yankee meio cega", chamada Annie Sullivan (Anne Bancroft), para ensinar sua filha. Através da persistência e do amor, e de pura teimosia, Annie rompe as paredes de silêncio e escuridão de Helen e a ensina a se comunicar.

Uma jovem vítima de estupro tenta desesperadamente juntar os pedaços de sua vida, apenas para depois se ver à mercê de um pretenso salvador. Mary Ann Robinson, uma jovem mulher morando no Bronx, Nova York, com sua mãe neurótica e dominadora e seu gentil mas ineficaz padrasto, é estuprada enquanto caminhava para casa uma noite. Guardando o ataque para si mesma, Mary Ann foge, procurando perder-se em Manhattan, alugando um apartamento miserável e tendo um emprego em uma loja de produtos de dez centavos. Abatida pela hostilidade das pessoas e seu próprio desespero, Mary Ann tenta pular da Ponte de Manhattan, apenas para ser impedida por Mike, um mecânico de garagem que a leva para seu modesto apartamento num porão próximo. No início apreciou a bondade de Mike, mas Mary Ann fica aterrorizada quando ele se recusa a deixá-la ir. Mike é realmente o salvador de Mary Ann - ou ele é apenas outro estuprador?

Come Back, Africa chronicles the life of Zachariah, a black South African living under the rule of the harsh apartheid government in 1959.