William Greaves’ Unreleased Film ‘Once Upon A Time In Harlem’ Finally Premieres at Sundance After 50 Years

In 1970, the late pioneering documentarian William Greaves criticized mainstream American media for its neglect of pressing social issues. In a compelling op-ed published in the New York Times, he urged media executives to demonstrate bravery and invest in a framework that would educate and empower audiences.

“What constructive suggestions can a Black producer offer the irrelevant, frightened media establishment, that has been too frightened to speak the truth?” Greaves questioned in the piece.

Nearly six decades later, Greaves’s inquiry resonates more than he might have anticipated in 1970, and even more so in 1972, when he began work on his feature documentary Once Upon A Time In Harlem. This oral history of the Harlem Renaissance is set to make its debut this month at the Sundance Film Festival.

Innovatively structured, Once Upon A Time In Harlem revolves around a cocktail party hosted at Duke Ellington’s home in Harlem. Greaves invited many of the surviving creators from the Harlem Renaissance, most of whom had not seen each other for over fifty years. For four hours, the ensemble of artists engaged in spirited discussions, laughter, and debated their evolving roles within a changing cultural landscape—an experience captured on film by Greaves.

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Originally shot for a different project, From These Roots, which Greaves completed in 1974 using archival footage, the interviews and discussions from the gathering remained unfinished. Throughout his career, Greaves, who produced over 70 films including the influential Symbiopsychotaxiplasm series, regarded Once Upon A Time In Harlem as his most significant achievement. Despite his passing in 2014 before the film was completed, Greaves’s widow, Louise, continued the project until her death in 2023. Subsequently, their son, David, and granddaughter, Liani, took up the task.

The film features a rich array of over two dozen prominent figures from Harlem, including painter Aaron Douglas, cultural pioneer Richard Bruce Nugent, composer Eubie Blake, activist Leigh Whipper, and poet Arna Bontemps. Notably absent from the lineup, however, is Duke Ellington.

Incomplete portions of the film were shown in preliminary sessions at New York’s Metropolitan Museum of Art and the Museum of Modern Art in 2024 and 2025. Anticipation regarding its eventual release heightened last year, following a glowing review by New Yorker critic Richard Brody, who described it as “one of the greatest cinematic works of creative nonfiction that I’ve ever seen.”

David and Liani have been overseeing the restoration and digitization of the extensive footage, totaling over 60,000 feet of 16mm film. David serves as the director for this version, while Liani is a producer. The duo recently discussed the lengthy journey to bring Once Upon A Time In Harlem to fruition, including Greaves’s original vision for the film and their plans for future projects from his extensive archive.

“There is more, so much more,” Liani hinted during the interview.

The Sundance Film Festival is set to begin on January 22.

DEADLINE: David, the film was originally conceived and produced in 1972. What was your father struggling with throughout the years? What was stopping him from completing the film?

DAVID GREAVES: The film was supposed to combine the party footage with still photographs. However, when we attempted to piece it together, the stills didn’t integrate well with the live action. He ultimately decided to focus on the stills, culminating in the 1974 project From These Roots, which won over 20 film festival awards. He couldn’t finish this film because it was so personal to him; he permeates every aspect of it. We were also occupied with other projects, as From These Roots was the only one they had funding for at the time, which diverted his attention to more commercially viable works.

LIANI GREAVES: My grandfather and his wife, Louise, grappled with how to realize this film. They experimented with contemporary footage as well, attempting to weave in the diverse narratives surrounding Harlem and Black culture in America. They ultimately found cohesion elusive and perhaps necessitated their separation from the material for the project to evolve.

DEADLINE: Where was all of this footage housed over the years?

DAVID: It was primarily stored at the Schomburg Center, right, Liani?

LIANI: Exactly. Some of it was at our storage facility in Iron Mountain as well. Overall, it totaled about 60,000 feet of film that required scanning and restoration, a monumental task that took around two and a half years to complete.

DEADLINE: What was the timeline for this project? When did you start working on it?

LIANI: Restoration efforts began in 2021 when my grandmother obtained a significant grant from the Ford Foundation. We took over in 2023 after her passing; at that point, the restoration was complete, and we began editing.

DEADLINE: Did William leave any instructions on how to proceed?

LIANI: Don’t F— it up. That was from Louise.

DAVID: That was our only guideline, along with the imperative to make it happen. We had the tremendous footage to work with; the process involved selecting and refining. It adhered to a cinéma vérité approach.

LIANI: My grandfather’s writings significantly shaped the film’s structure. He was a prolific author, contributing philosophical insights, creative expression, and ideas on filmmaking, which we incorporated into the project.

DAVID: I went through many of his books. His writings included margin notes and highlights that provided deep insights. Engaging with these texts grounded me throughout this process.

DEADLINE: The film’s structure reflects Greaves’ distinctive style, which defies convention. His work is experiencing a resurgence among younger audiences.

LIANI: He would love that response. My grandfather viewed himself as a young, aspiring filmmaker throughout his life and maintained his curiosity until his last breath.

DEADLINE: Can you elaborate on how the party in 1972 was organized and how he connected with the guests?

DAVID: He collaborated closely with librarians at the Schomburg Center, who assisted him in locating contacts and reaching out to invitees.

DEADLINE: What were his filming instructions on site?

DAVID: We had four cameramen and two sound technicians. We divided into groups with two cameras and one audio operator to capture the conversations. Greaves instructed us to record everything, and he actively directed discussions, asking questions and guiding topics.

DEADLINE: You held work-in-progress screenings at MoMA and The Met?

LIANI: Yes, we participated in the Flaherty seminar at MoMA, presenting the first 20 minutes. We also showcased 20 minutes at The Met as part of their Harlem exhibit, which was an enjoyable experience and the first time the public saw it.

DEADLINE: How did audiences respond during those screenings?

DAVID: We engaged with audience feedback sessions, receiving valuable critiques, including suggestions to streamline my opening sequence, which had initially delved deeply into history. Viewers urged us to focus on moving to the party scene more swiftly.

DEADLINE: Richard Brody mentioned a hoped-for release around William Greaves’s centenary. Is that still the plan?

LIANI: Absolutely, we’re organizing a retrospective in New York this year to coincide with his birthday on October 8. We’re hopeful to premiere in New York, alongside a similar event at the Barbican in London.

DEADLINE: Navigating Hollywood’s interest in your father’s work must be complex. How do you manage it?

LIANI: There wasn’t any financial support from Hollywood, nor did we have recognizable names involved in the project. Some suggested needing a Hollywood figure for narration or as an executive producer. Yet, the film’s growing acceptance is rewarding as it aligns with my goal to preserve my grandfather’s legacy and share his philosophy and writings with a wider audience.

DEADLINE: Will you be sharing more unreleased works from him?

LIANI: Yes, there’s much more to explore. I aim to publish his writings, including a script based on Langston Hughes’s book The Sweet Fly Paper of Life. Langston wanted my grandfather to create the film, and we have several stories we’re considering for future projects.

DAVID: We’re also developing a public archive as part of the project, allowing access to full interviews and detailed insights on all film participants.

DEADLINE: How did the film end up at Sundance, given William’s mixed history with film festivals?

LIANI: Yes, the Cannes experience was problematic due to a mix-up during the screening. Ultimately, Sundance felt like a leap of faith since we applied without completed funding or a finished film. However, after Richard Brody’s article raised our profile, a funder from the Cromwell Harbor Foundation reached out, allowing us to complete the project.

DEADLINE: What are your hopes for the film’s distribution?

LIANI: Our goal is broad availability across cities, allowing communities to experience the film together in theaters. This project highlights the importance of community collaboration and shared experiences.