EXCLUSIVE:Theres been a lot of buzz in the UK surrounding rising producerJoy Gharoro-Akpojotor.
The Nigerian-raised Londoner is at the Berlinale this year with a new project, her directorial debut.
TitledDreamers, Gharoro-Akpojotor directed the film from a screenplay she wrote.
When Isios asylum utility is rejected, Farah suggests they escape together to give their love a chance.
Emily Morgan (I Am Not a Witch) produced the film, which runs a tight 78 minutes.
The Yellow Affair is selling the film internationally.
Its needed and important.
People need to see themselves, Gharoro-Akpojotor said.
you could also watch a clip from the film above.
DEADLINE: Joy, I know you as a producer.
Can you tell me a little about how youve ended up here today?
JOY GHARORO-AKPOJOTOR: Growing up, I loved to write.
I would make mini books and stories.
My mother would respond, No, shes not.
That doesnt make any money.
Shes got to be something else.
I would watch three or four movies, which you werent supposed to do.
But I fell in love with the art of cinema.
Thats when I knew I wanted to become a filmmaker.
I ended up doing a course in film studies.
Thats when I realized I wanted to be a writer.
I didnt even really know where to look, so I figured I should also become a producer.
I taught myself the job.
I read a bunch of books.
I remember reading Christine VachonsA Killer Lifebecause I didnt really understand what a producer was.
DEADLINE: You grew up in Nigeria?
GHARORO-AKPOJOTOR: Yeah, I grew up in Nigeria and Brunei.
I did my boarding school years in Nigeria.
I have four older brothers.
Three of them were in the UK.
DEADLINE: When did you start working onDreamers?
What inspired the work?
GHARORO-AKPOJOTOR: I started in 2016 when I got BFI money to develop the idea.
But I had the initial idea around 2011 or 12 when I was working through my own asylum process.
I wrote a first draft of the script based on my own experience.
This was around 2016.
It feels like a fitting time for the film to be seen.
GHARORO-AKPOJOTOR: Yeah, its a broken system run by individuals, and individuals are flawed.
We forget that nobody willingly gets on a boat to leave their entire life.
Theres a reason behind that.
But when immigration is so collectivized, its easy to speak about immigrants as those people over there.
But when its someone you know, it becomes a harder conversation to have.
DEADLINE: How was the process of making the film?
GHARORO-AKPOJOTOR: It wasnt the easiest film to make, in all honesty.
On paper, the film isnt commercial.
Weve had a fair few immigration films, and I think people always see it as just another one.
But the BBC was amazing.
They came on board and helped us out.
We had two other partners.
We didnt have a lot of money, but we had a lot of love for the project.
DEADLINE: Why didnt you move into production at the BFI?
GHARORO-AKPOJOTOR: Their process has changed recently, so I cant speak to why not.
They have a much more rigorous software system.
It was nothing personal.
Its just the competition in the funding process.
DEADLINE: Why do you say the film isnt commercial?
GHARORO-AKPOJOTOR: The reason I said its not commercial is more because people thought it wasnt commercial.
Its not a film that is solely political its also a love story.
I look at things likeBottomsand how well that did when it came out.
Or from the international industry.
I struggle to think about what that number is.
DEADLINE: Speaking about international, how are you feeling about debuting the film in Berlin?
GHARORO-AKPOJOTOR: Im excited but also nervous.
The thing about transitioning from a producer to a director is that suddenly youre front-facing.
You cant just hide in the background.
Im not used to it, but Im looking forward to hearing what audiences think about the film.
For me, whats important about this film is creating dialog.
DEADLINE: What would be your ideal release for this film?
And where do you think it will realistically end up?
GHARORO-AKPOJOTOR: If it was up to me, we would be in 400+ cinemas.
DEADLINE: Looking back at the Blue Story controversy.
What do you think about how that unraveled?
Its crazy to think a film was pulled from cinemas.
GHARORO-AKPOJOTOR: It reminded us of the need to have a diverse cinema.
People told me they went to see the film seven times, which is so crazy.
But it was because there was such a hunger.
People need to see themselves.
DEADLINE: I remember reading that you signed with CAA.
Are you tempted by Hollywood?
Im sure lots of people are knocking on your door now.
GHARORO-AKPOJOTOR: I think everybody wants to work in Hollywood at some point.
For me, its really about the story and the people Im working with.
As a storyteller, Im finding my voice.
I know the kind of storyteller Im not.
DEADLINE: What kind of filmmaker do you want to be?
I think thats my happy place.
