Some Personal News

I will soon be the President & owner of Milestone Films, a mighty film distributor

This morning, The New York Times announced some personal news that I have wanted to share with you for a long time: In 2026, I will become the President and sole owner of Milestone Films, the distribution home of brilliant Black works from Charles Burnett, Ayoka Chenzira, Kathleen Collins, Billy Woodberry, Bridgett M. Davis, and countless others from across the filmmaking spectrum.

Bill Gunn and Seret Scott in Kathleen Collins’s masterpiece “Losing Ground,” a film distributed by Milestone Films

For 35 years, Milestone Films– co-founded by Dennis Doros and Amy Heller –has been distributing films–theatrically and on home video– at the margins of film canonization. It is an honor to build on their storied and crucial legacy to transform Milestone Films into one of very few Black-owned and managed film distribution companies.

Milestone Films’s library, that I will soon be the caretaker of, has Black Film Archive favorites— like “Killer of Sheep” (1978) dir. Charles Burnett, “Alma’s Rainbow” (1994) dir. Ayoka Chenzira, “Bless Their Little Hearts” (1983) dir. Billy Woodberry, “Losing Ground” (1982) dir. Kathleen Collins— and discoveries from across the filmmaking spectrum of taste and sensibility that I look forward to caring for all the same.

How Do You Resurrect a Black Cinematic Monument? On Restoring “Killer of Sheep”

This moment comes as much of my last two years were spent ushering in “Naked Acts” (1996), a very special film by Bridgett M. Davis distributed by Milestone, that I rediscovered and led the distribution efforts on. While we worked to release Bridgett’s never-distributed-before film– called a ‘rediscovery that expands cinema’ by Richard Brody in the New Yorker– it became clear that distribution work is something I could do more expansively and consistently. Since then, I have worked on Charles Burnett’s “Annihilation of Fish” and “Killer of Sheep” alongside Milestone’s co-founders.

The Year of Naked Acts

My news feels like the culmination of a promise I made when launching Black Film Archive in August 2021 of widening knowledge of Black cinema’s abundance. To build awareness about the dynamic range of Black cinema was always the first step–and a step that will continue for years to come– but to bring equity to the distribution process remains crucial for Black repertory¹ cinema’s survival. Through distribution —and proper marketing, release, relationship with cinemas and exhibition venues in community, and director/family participation— Black repertory cinema can continue to thrive. I am grateful for my peers who have been doing this work, whether its filmmakers who are taking it upon themselves to release their own works or other distributors who have recognized the call with care.

Black Film Archive –and my curation of it– will not change. My work began with community in mind and will continue with that, too. Through your support–yes, you, reading this– the possibility of what the future holds has been enhanced, sharpened, and wielded into reality. Community trust remains paramount and I will continue supporting Black filmmakers, moviegoers, community members and their agency to choose what speaks to them while working hard to ensure the films I unearth for distribution fits that distinction.

The pride I feel in this moment is credit to Jessie Maple (20West), Ava DuVernay (ARRAY), Haile Gerima and Shirikiana Aina (Mypheduh Films), Michelle Materre (KJM3 Entertainment Group, Inc.), Warrington Hudlin (Black Filmmakers Foundation), Oscar Micheaux (Lincoln Motion Picture Company) and the countless named and unnamed Black pioneers who have carved a path for me to follow in film distribution and beyond. Thank you simply does not feel like enough.

As I work to build upon the legacy of Milestone Films and transitioning it to Black ownership, I will be launching a Distribution Diary column—of which this serves as the first— via this Substack that gives me space to share lessons learned as the building of what’s to come continues. However, the focus here will remain a celebration of the Black cinema ecosystem beyond my own contributions to it. Thank you, all and thank you again. If you have any questions, concerns, or celebrations, please leave a comment below or send me a private note at maya@blackfilmarchive.com, I look forward to hearing from you.

1. A repertory film distribution company is one that focuses on ‘classic films’ and releasing cinema that has been previously made to new audiences as opposed to first run films. Some companies choose to do both repertory films and new run films.