Neon, the studio behind behind “Parasite” and “Anora,” has prevailed in a heated bidding war for U.S. rights to “Once Upon a Time in Harlem.”
The documentary was conceived and filmed in 1972 by the late William Greaves and restored and directed by his son David Greaves. It premiered to raves at this year’s Sundance Film Festival. At various points, Netflix, Sony Pictures Classics and Mubi were in the mix for rights to the film. Neon is planning a theatrical release for the film later this year. The sale marks the second acquisition for the indie studio, following its deal for the queer horror film, “Leviticus.”
“Once Upon a Time in Harlem” documents a party Greaves threw with the (then) living titans of the Harlem Renaissance. For four hours, this group of artists and writers reminisced, debated and drank while discussing the cultural revolution they helped set in motion and the changes they experienced in the part of the city they called home.
Over 50 years later, David Greaves, one of the original cameramen, used his father’s notes and workprints to create a new film. “Once Upon a Time in Harlem” is produced by David’s granddaughter, Liani Greaves. David and Liani serve as William Greaves Productions’s president and vice president of production, respectively. Louise Archambault Greaves, William’s wife and creative partner of 55 years, co-founded the company in 1963. Following his death in 2014, she worked to restore his films. Producer Anne de Mare worked with Louise to preserve and digitize over 60,000 feet of previously unseen 16mm footage shot by Greaves in 1972. The preservation was overseen by multi-disciplinary artist and preservationist Bill Brand. Louise died in 2023.
In a rave review, Variety’s Lisa Kennedy wrote, “‘Once Upon a Time in Harlem’ turns viewers into time travelers but also invited guests, rightly grateful to be in the room. For some of us, this film might evoke the wonder of a great-grandchild listening in on grown-up reminiscences. Nodding at the substance. Smiling at the style.”
The deal was negotiated by Sarah Colvin, vice president of acquisitions for Neon and Jason Ishikawa and Isadora Johnson of Cinetic Media on behalf of the filmmakers.
From Variety US
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