Holiday Song: Jim Sclavunos Supports Endangered Venues With Masterpiece. One of the things that holds most people back is finding an entry point. Production booster funding supports advanced projects that are entering or already in production, which already have significant project funding or resource attached to them, and which offer important learning opportunities which can be fed back into the StoryFutures Academy programme. At that time, that’s what he associates with the area. Since the open call in late 2019, 11 projects in total have been awarded funds. It almost felt deliberate after a while. Trailer Ratings and Reviews. The award was presented by Rowan Joffe.. Is that why you set the film at this time? , we’re back in South London, and working that relationship. Brixton was a central point. It’s something that I grew up with myself. To mark the release of Shola Amoo’s second film, the director and star Sam Adewunmi discuss their own experiences navigating identity and location. I just feel like I’ve said so much about it, between. But ultimately we find beauty in those areas itself. United Kingdom, Email: editors-at-trebuchet-magazine.com Shola’s debut feature was a multimedia Film called A Moving Image, which received The Special Recognition Award at The Blackstar Film Festival in Philadelphia. Corrina talks to writer-director Shola Amoo and lead actor Sam Adewunmi of The Last Tree. Shola Amoo’s debut feature was a multimedia film called A Moving Image, which received the Special Recognition Award at the Blackstar Film Festival in Philadelphia, had its European Premiere at the BFI London Film Festival 2016 and was released theatrically in the U.K. in 2017 through Verve Pictures.Shola’s second feature was the drama The Last Tree, which premiered at Sundance 2019 in … Trebuchet Magazine View Shola Amoo’s profile on LinkedIn, the world’s largest professional community. It’s quite interesting. As the movie develops, that perspective broadens and changes because he’s taken from that open, free environment into a much more confined environment. London W1A 6US We challenge you to enter and share a part of yourself with us.”. Writer / director, Shola Amoo alongside the cast of “The Last Tree” at Sundance London (Big Picture Film Club) In aiming to tell such a complex culturally-specific story, director & screenwriter, Shola Amoo has used his own lived experience to draw upon, this brings with it a level of authenticity and nuance which turns what would be a ‘good’ film into a brilliant film. Sign up to get updates on articles, interviews and events. You can’t move forward without dealing with the past and all of these things that make up your identity, and I think that’s really the only way to get to any kind of consensus. But also to the point where I don’t know if the next film I’ll make will be in the UK. Writer / director, Shola Amoo alongside the cast of “The Last Tree” at Sundance London (Big Picture Film Club) In aiming to tell such a complex culturally-specific story, director & screenwriter, Shola Amoo has used his own lived experience to draw upon, this brings with it a level of authenticity and nuance which turns what would be a ‘good’ film into a brilliant film. Sam: I guess in some sense, yeah. Like, who told you! I was relating back to my teen years a lot, so that’s what felt authentic to that time and space. But it also then chimes quite interestingly with the identity crisis that we’re going in now in terms of Brexit, in terms of defining which way we’re gonna go, defining what is a native Brit as opposed to an immigrant. I had a similar dissonance from moving from, let’s say, a racially monochromatic space, to a more diverse space, and [my] landscape shifting. But, could ever really pronounce it, and they would butcher it and I would get teased. For me, the Lincolnshire portrayal has more of a kind of lush and warmth to it simply, because it’s from a child’s perspective. But it also then chimes quite interestingly with the identity crisis that we’re going in now in terms of Brexit, in terms of defining which way we’re gonna go, defining what is a native Brit as opposed to an immigrant. Countless [school] register situations where they were just butchering [my name]! He’s another black boy himself, probably of Caribbean descent or something, but that was a massive. Whereas, I’m sure there is an evolved version that would be interesting to see. Like Huck on Facebook or follow us on Twitter. There was only so many things you could do to be perceived to be black, which I found so interesting. It almost felt deliberate after a while. From Nigeria to Lincolnshire then London and back again, writer/ director Shola Amoo’s semi-autobiographical The Last Tree tells the tale of a young boy … Yeah definitely. So yeah, I’ve definitely found myself, like, listening to something that I’m too embarrassed to admit to other people. Shola: For me, definitely. But also to the point where I don’t know if the next film I’ll make will be in the UK. See the complete profile on LinkedIn and discover Shola’s connections and jobs at similar companies. Skype: Trebuchet Magazine. It’s madly surreal and the most beautiful kind of closure to many things. Sam: Literally the same name as my dad. In terms of location and character, it’s such a big deal in [debut feature]. The Last Tree Written & directed by Shola Amoo. Because it is evoking a particular era in time, and it’s coming from such a personal perspective. The film follows Femi, a Nigerian immigrant who grows up separate to the more naturalised British-African children of London – due to his time being fostered in the English countryside. In terms of location and character, it’s such a big deal in [debut feature] The Moving Image. Co-director of StoryFutures, James Bennett, says: “We’re thrilled that our audience insight team are launching this tool on such an important project as Shola’s Violence. What I found really interesting is that tension introduced when Femi got moved into a more diverse space, between his African identity and his British identity. 1 Rating. So yeah, I’ve definitely found myself, like, listening to something that I’m too embarrassed to admit to other people. So that’s a feeling you associate with the ’00s? British writer-director Shola Amoo’s second feature, The Last Tree, is a semi-autobiographical coming-of-age film set in the early 2000s. Writer-director Shola Amoo and actor Sam Adewunmi are the rising talents behind brilliant London drama ‘The Last Tree’ By Phil de Semlyen Posted: Tuesday September 24 2019 Share Tweet Trevor takes watch one night at the water's edge. Holding a broad editorial background, she has worked with an eclectic variety of content, ranging from film and the counterculture, to political news and finance. Scott J. Davis: Congratulations on the film. The kind of cognitive dissonance that Femi himself was dealing with. Similarly, the UK needs to delve into its history, the good and the bad, and find out what has lead to this moment in time that we’re at. PO. digs into the specific identity crisis of being a young black man of dual heritage in England. So I just said to my mum, ‘You need to change this. In this context, the audience explore the cathartic nature of rebellion by oppressed groups against draconian political and social systems. I think that even probably continued past adolescence. Shola: Definitely. There is a kind of wariness of the city throughout your work. This is an interesting mixture of styles. It’s quite interesting. Trailers See All. ★★★★☆Echoes of Barry Jenkins’s Oscar-winning Moonlight abound in this dreamy and nuanced coming-of-age tale from the writer-director Shola Amoo (A Moving Image). Shola Amoo’s new virtual reality work re-contextualises the notion of violence, by examining it through the lens of state oppression against marginalised and subaltern groups. I’m so interested in new locations and I think that’s why it’s so important that the film ends in Lagos. You kinda go through that in your teenage years – where who we actually are is different to who we show to our friends, and who we are at home. My name on the register when I was growing up was my Nigerian name. Even though that is an experience of someone else, it can relate to so many of us, and I don’t feel like I’m alone in that. Featuring outstanding performances from a standout cast, this stunning new film from writer / director Shola Amoo is simply unmissable. immersive storytelling National Film and Television School protest art Shola Amoo StoryFutures Academy virtual reality. Shola Amoo has been awarded Best Screenplay at the Writers Guild Awards for his critically acclaimed feature The Last Tree. Shola Amoo – Writer / Director (Graduate of the NFTS Screenwriting MA) Reflecting on why more diverse films were not being made, Duncan has commented: “It seems obvious. Shola Amoo’s second film follows a Nigerian-British foster child as he moves from the countryside to the city. Following a string of acclaimed shorts and a feature film exploring characters caught between urban and rural spaces, writer-director Shola Amoo’s latest work, The Last Tree, digs into the specific identity crisis of being a young black man of dual heritage in England. I think the progression is because they are confronted by their history every day in a way that we’re kind of insulated from sometimes. Following a string of acclaimed shorts and a feature film exploring characters caught between urban and rural spaces, writer-director Shola Amoo’s latest work, The Last Tree, digs into the specific identity crisis of being a young black man of dual heritage in England. It was such a bookend for an era of South London and being here in the UK – growing up and all the experiences. Our work will further interest in the project from future investors and be part of an important public debate on racial violence and the power of VR to affect people’s perceptions and emotions.”. Writer-director Shola Amoo, Producer Myf Hopkins, Editor Mdhamiri A Nkemi, Production Designer Antonia Lowe and Composer Segun Akinola – all NFTS graduates, were greeted with whoops as they arrived for a Q&A after a preview screening of The Last Tree at the NFTS.. Shola’s debut feature was a multimedia Film called A Moving Image, which received The Special Recognition Award at The Blackstar Film Festival in Philadelphia.It had its European Premiere at The BFI London Film Festival 2016 and was released theatrically in the UK in 2017 through Verve Pictures. Ahead of the film’s imminent UK release, Huck spoke to Amoo and Adewunmi about their own experiences navigating Black British identity – and how location affects it. Anchored by a debut performance from Sam Adewunmi, Definitely. You can’t move forward without dealing with the past and all of these things that make up your identity, and I think that’s really the only way to get to any kind of consensus. To mark its release, the director and star Sam Adewunmi discuss their own experiences navigating identity and location. Was there a particular moment that stood out for you where Femi’s troubles embodied your own? When I was a teen I really felt like black people are only meant to listen to a certain type of music. Shola Amoo's first feature. The Picturehouse Podcast is supported by Silk Factory , a creative content agency for all your marketing needs across cinema, TV, digital, podcast and all social platforms. The premiere showing at Cannes debuts innovation from StoryFutures Academy’s audience insight team of researchers based at Royal Holloway, University of London, who have developed an audience feedback system that directly integrates with VR headsets to enable bespoke psychological insights to be developed. Box 6945 Director: Shola Amoo Writer: Shola Amoo . So I just said to my mum, ‘You need to change this. I think that even probably continued past adolescence. Shooting so close to home on the Aylesbury Estate, East Street and Deptford High Street, all of these places I’ve known so well. It’s a place that I’ve always wanted to shoot in and spend time in. Shola: Yeah, definitely. There are many people who will see the film and feel, ‘I recognise myself’ or, ‘I see myself’ – in that person, and those relationships. Amoo Writer and director for film and television. Posted Friday 20th September, 2019Text by Kambole Campbell, The film exploring masculinity and black British identity. The film follows Femi, a Nigerian immigrant who grows up separate to the more naturalised British-African children of London – due to his time being fostered in the English countryside. – Friedrich Nietzsche, All content Copyright © Trebuchet Magazine 2020, Hauser & Wirth Take on Estate of Gustav Metzger, Petr Davydtchenko Eats Live Bat in Big Pharma Protest, Study Suggests Brain Unable to Distinguish Digital Reproduction of an Artwork From the Real Thing, New Platform Allows Galleries to Create Virtual-Reality Exhibitions Using 3D-Scanning Technology, A less lonely experience of viewing art online, Richard Saltoun Gallery Launches Hannah Arendt Programme, The Fresh & Weird Creative Energy of New Contemporaries, Tate Modern screens Shirin Neshat’s 1999 film ‘Soliloquy’. The push and pull between Femi’s interests and his image throughout the film was really interesting – particularly the part with him listening to The Cure and quickly lying to someone else that it was 2Pac. I think that’s just serendipity in that sense. Following a string of acclaimed shorts and a feature film exploring characters caught between urban and rural spaces, writer-director Shola Amoo’s latest work. The actor that played my dad, his name… that’s also the name of my dad. But we add those other elements that include Lincolnshire and Nigeria. He's better known for THE LAST TREE, which came out last year, and which I'm looking forward to catching up on. Enjoyed this article? Starring BIFA Most Promising Newcomer winner, Sam Adewunmi as Femi, the cast also includes Tai Golding, Gbemisola Ikumelo, Nicholas Pinnock, Denise Black and BIFA Best Supporting Actress winner, Ruthxjiah Bellenea. Femi is trying to chart his place in the world, and bring together these multitudes of identities to find a coalescence – in a way that we’re trying to find coalescence. The new virtual reality work re-contextualises the notion of violence, by examining it through the lens of state oppression against marginalised and subaltern groups. But when I was growing up, it felt way more entrenched – the parameters for this were so tight. At that time, that’s what he associates with the area. I was relating back to my teen years a lot, so that’s what felt authentic to that time and space. 15+ COMMON SENSE. This concept of wearing a mask comes off at certain points, but you’re constantly having to navigate who you are against who you’re perceived to be. For me, the Lincolnshire portrayal has more of a kind of lush and warmth to it simply, because it’s from a child’s perspective. "The Last Tree" is writer/director Shola Amoo's stunning, compassionate, and semi-autobiographical coming-of-age drama which starts streaming June 25 … In his semi-autobiographical film, The Last Tree, writer and director Shola Amoo tells the story of a Nigerian British foster child and his quest to find his place in the world and make sense of his roots. I feel like in the film, the only way he gets to any kind of consensus is by accepting all of the parts of him, particularly his heritage. I was always questioning these parameters, and when are you allowed to break them or not – that sort of stuff. The Caribbean would always get on to you for you being African, when it’s like… we all came from the same place, why are we…? In a quiet mining village just outside Doncaster, a rumour stirs about the legend of a giant carp in the nearby decoy ponds. I found it so cathartic. I’ll be like, ‘Yeah, yeah yeah I heard that track.’. Countless [school] register situations where they were just butchering [my name]! We’re at a crossroads, where what British identity means is being pretty thoroughly interrogated – by people who would decide who belongs here and who doesn’t. I’ll be like, ‘Yeah, yeah yeah I heard that track.’. For me, definitely. It’s exceptionally well-crafted by south Londoner Shola Amoo and loosely based on the writer-director’s own younger years. get on to you for you being African, when it’s like… we all came from the same place, why are we…? Rent £3.49 Buy £7.99 View in iTunes. Shola Amoo Writer & Director. It’s fantastic to do this with Shola who has come through our training programmes at StoryFutures Academy. Violence, an artistic collaboration between NFTS graduate and director Shola Amoo (The Last Tree), producer Nell Whitley (Marshmallow Laser Feast), director and choreographer Lanre Malalou, composer Finn McNicholas and interactive studio All Seeing Eye, will have its world premiere at the Tribeca Film Festival, as part of the Cannes XR Virtual at the Marché du film de Cannes, held online and in virtual reality from 24 – 26 June. Shooting so close to home on the Aylesbury Estate, East Street and Deptford High Street, all of these places I’ve known so well. I n his electrifying debut, A Moving Image, Shola Amoo examined the impact of gentrification on his native Brixton, exploring the potential of art to be a political force.Two years later, the writer/director is back with his first narrative feature, which charts a British-Nigerian boy’s difficult coming of age. I’m working on my relationship with my father so that moment in Lagos in that house it just felt quite…. S toryFutures Academy, the UK’s national centre for immersive storytelling, announces the recipients of development funding for UK immersive productions, in a total investment of over £140,000. I imagine you’ve both had issues with becoming… maybe not more naturalised–. And in The Last Tree, we’re back in South London, and working that relationship. Unit 22267 Shola has 3 jobs listed on their profile. Pond Life (Drama) Summertime, 1994. Visually, the film brings along all the locations and different places of his identity. Is it a particular interest of yours – how we as black people relate to both the countryside and the city? I think, ultimately, the way South London is depicted in the film in contrast can seem negative. Just get people to call me Samuel.’, That scene where Dean’s teasing Femi, it’s not like Dean’s white. Naila Scargill is the publisher and editor of horror journal Exquisite Terror. Given that the film is semi-autobiographical, did you have any similar experiences with moving from the countryside and adjusting to the city – and finding beauty in that? Was that something you had to contend with yourselves? I was always questioning these parameters, and when are you allowed to break them or not – that sort of stuff. I feel like a lot of people pass it off as “we’re not as bad as America,” but we’ve got our own thing. Shola: I think that’s just serendipity in that sense. The actor that played my dad, his name… that’s also the name of my dad. There was, actually. To celebrate the release of the critically-acclaimed new British film The Last Tree, we sat down with its from writer/director Shola Amoo and leading man Sam Adewunmi, to discuss the film, its cultural impact and its unique visuals that demand it be seen on the biggest screen possible. I guess in some sense, yeah. Did either of you find yourself trying to live up to a certain image? Set in the UK, Lincolnshire and London. I feel like it’s a lot looser now. But when I was growing up, it felt way more entrenched – the parameters for this were so tight. 1 Rating. There aren’t diverse people telling the stories. But yeah, that was a moment that I felt like, ‘Wow…’ I think that’s also a testament to the script and how truthful and honest and authentic it is. But no one could ever really pronounce it, and they would butcher it and I would get teased. Three years after he explored the impact of gentrification and cultural erosion on London's black communities in his multimedia debut A Moving Image, writer-director Shola Amoo returns to further explore themes of racial identity, and the power of external forces to change lives. But we add those other elements that include Lincolnshire and Nigeria. Shola: I think the progression is because they are confronted by their history every day in a way that we’re kind of insulated from sometimes. THE LAST TREE follows the story of Femi, a British boy of Nigerian heritage who, after a happy childhood in rural Lincolnshire, moves to inner London to live with his mum. Yeah, more anglicised. I just feel like I’ve said so much about it, between The Moving Image and The Last Tree. And if you had the more anglicised name like a Dean or a Toby, you weren’t really stressed. Sam: My name on the register when I was growing up was my Nigerian name. Shola: I found it so cathartic. Corrina takes a step back, while our guests fire questions at each other in a bid to try something different. You kinda go through that in your teenage years – where who we actually are is different to who we show to our friends, and who we are at home. This concept of wearing a mask comes off at certain points, but you’re constantly having to navigate who you are against who you’re perceived to be. And if you had the more anglicised name like a Dean or a Toby, you weren’t really stressed. Sam: I was just, like, woah. He’s another black boy himself, probably of Caribbean descent or something, but that was a massive thing as well. Sam: There was, actually. Writer, Shola Amoo, says: “I’m very excited to be a part of this ground-breaking project for the BBC. Anchored by a debut performance from Sam Adewunmi, The Last Tree explores ideas of belonging, masculinity as well as the idea of being uprooted (physically, and metaphorically). When I was a teen I really felt like black people are only meant to listen to a certain type of music. Whereas, I’m sure there is an evolved version that would be interesting to see. 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