So yeah, I’ve definitely found myself, like, listening to something that I’m too embarrassed to admit to other people. View Shola Amoo’s profile on LinkedIn, the world’s largest professional community. immersive storytelling National Film and Television School protest art Shola Amoo StoryFutures Academy virtual reality. It seems to be a very uniquely British thing that we don’t like to engage with our own responsibility in colonialism and our own very specific brand of racism, I think. But ultimately we find beauty in those areas itself. get on to you for you being African, when it’s like… we all came from the same place, why are we…? 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 … But when I was growing up, it felt way more entrenched – the parameters for this were so tight. And if you had the more anglicised name like a Dean or a Toby, you weren’t really stressed. I found it so cathartic. 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 … Writer-director Shola Amoo has made a film that by all reports is close to his own experiences as a Nigerian immigrant in England during the early 2000s, raised by a … I think, ultimately, the way South London is depicted in the film in contrast can seem negative. 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. 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. And if you had the more anglicised name like a Dean or a Toby, you weren’t really stressed. Shooting so close to home on the Aylesbury Estate, East Street and Deptford High Street, all of these places I’ve known so well. The Last Tree Written & directed by Shola Amoo. Kickstart funding supports early stage project R&D from previous StoryFutures Academy training programmes, and the creation of immersive proof of concepts across AR, VR, and MR platforms. 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. 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. Visually, the film brings along all the locations and different places of his identity. In a quiet mining village just outside Doncaster, a rumour stirs about the legend of a giant carp in the nearby decoy ponds. British writer-director Shola Amoo’s second feature, The Last Tree, is a semi-autobiographical coming-of-age film set in the early 2000s. 5.0 out of 5. 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. To mark the release of Shola Amoo’s second film, the director and star Sam Adewunmi discuss their own experiences navigating identity and location. 1 Rating. 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. Through the user’s interaction, the audience are asked to examine perception and bias, interrogating the social death and dehumanisation of the marginalised and societal complicity. Posted Friday 20th September, 2019Text by Kambole Campbell, The film exploring masculinity and black British identity. One of the things that holds most people back is finding an entry point. 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. 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 There are many people who will see the film and feel, ‘I recognise myself’ or, ‘I see myself’ – in that person, and those relationships. 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. 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. Is that why you set the film at this time? Director: Shola Amoo Writer: Shola Amoo . I was always questioning these parameters, and when are you allowed to break them or not – that sort of stuff. Was there a particular moment that stood out for you where Femi’s troubles embodied your own? 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. But also to the point where I don’t know if the next film I’ll make will be in the UK. Featuring outstanding performances from a standout cast, this stunning new film from writer / director Shola Amoo is simply unmissable. Naila Scargill is the publisher and editor of horror journal Exquisite Terror. But we add those other elements that include Lincolnshire and Nigeria. I’m working on my relationship with my father so that moment in Lagos in that house it just felt quite…. 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. Because it is evoking a particular era in time, and it’s coming from such a personal perspective. Trailers See All. But, could ever really pronounce it, and they would butcher it and I would get teased. 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.. It’s a place that I’ve always wanted to shoot in and spend time in. I just feel like I’ve said so much about it, between The Moving Image and The Last Tree. ★★★★☆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). I feel like it’s a lot looser now. I’ll be like, ‘Yeah, yeah yeah I heard that track.’. Shola: Yeah definitely. Shola: Yeah, definitely. 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. Tel: +44 (O) 2O 3287 I53I, For art to exist, for any sort of aesthetic activity or perception to exist, a certain physiological precondition is indispensable: intoxication. 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. It’s madly surreal and the most beautiful kind of closure to many things. There was only so many things you could do to be perceived to be black, which I found so interesting. Like, who told you! The kind of cognitive dissonance that Femi himself was dealing with. 1 Rating. For me, definitely. 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. Shola Amoo’s second film follows a Nigerian-British foster child as he moves from the countryside to the city. 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. – 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’. Shola Amoo has been awarded Best Screenplay at the Writers Guild Awards for his critically acclaimed feature The Last Tree. Whereas, I’m sure there is an evolved version that would be interesting to see. 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. 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. Shooting so close to home on the Aylesbury Estate, East Street and Deptford High Street, all of these places I’ve known so well. 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 think that even probably continued past adolescence. He's better known for THE LAST TREE, which came out last year, and which I'm looking forward to catching up on. There is a kind of wariness of the city throughout your work. 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. 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