Source: Classic Movies

Lifetime has been airing ‘The Bodyguard’ nearly every weekend since Whitney Houston passed, but now fans will have a chance to see the 1992 love story on the big screen again.

On March 28, these select theaters will show the film for one night only, not only in honor of Whitney Houston but also the film’s 20th Anniversary. When “The Bodyguard” was released in 1992, it became one of the highest-grossing films of the year both in North America and worldwide, and it has stood out over time for it’s soundtrack featuring Whitney singing her classics, “Run to You,” “I Have Nothing,” and of course, “I Will Always Love You.”

Another look on the big screen will also give fans a chance to look back on the chemistry Whitney Houston’s co-star Kevin Costner talked about at her funeral, and her questioning whether she was good enough. He said, “Whitney, if you could hear me now, I would tell you you weren’t just good enough. You were great.”

Check out the list of participating theaters here. Do you plan on heading to see “The Bodyguard” again March 28?

Brande Victorian is a blogger and culture writer in New York City. Follower her on Twitter at @be_vic.

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In 2008, filmmaker Dennis Dortch was living the life that many independent film directors and writers aspired to. After being rejected by Sundance the previous year, his film “A Good Day to be Black and Hot” was gaining well-deserved praise and attention.

“It was probably the greatest experience in my filmmaking career. It’s the time that every filmmaker wants.  To be recognized in the street, have your film be talked about,” said Dortch. “People come pat you on the back. That happened for like two weeks. They take care of you very well and make you the star when usually the stars are the people in the film.”

Nicknamed “Blackdance,” it’s apparent that since 2008, there has been an increase in the number of African-American filmmakers showcasing their work at the most esteemed film festival in the country. In 2010, there were just over a dozen, still a significantly low number compared to the 113 films that were accepted. One of the most prevalent black films that did make it to theaters was Tanya Hamilton’s “Night Catches Us,” a romantic drama based on the 1970s Black Power movement.

Though beyond the Sundance Film Festival, there lies a misty void in African- American culture that many in the film industry are working hard to solidify. Organizations like the Urbanworld Film Festival, the American Black Film Festival and distributor Codeblack Entertainment (Qasim Basir’s Mooz-lum and Laugh at my Pain) significantly contribute to the cause every year. However, it’s using the foundation that these organizations have built, breaking out of a subculture and making an impact on the general indie film market that will garner lasting effects.

While countless theatrical projects find themselves birthed at film festivals and carried by unwavering support to neighborhood theaters, black independent films are still lagging behind.  From their presence in the general independent film market to their journey onto the big screen, an inquiry constantly hovers: what’s the hold up with black indie films?