The actor that played my dad, his name… that’s also the name of my dad. Like, who told you! 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. My name on the register when I was growing up was my Nigerian name. So yeah, I’ve definitely found myself, like, listening to something that I’m too embarrassed to admit to other people. Shola: I found it so cathartic. 1 Rating. 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 feel like it’s a lot looser now. 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. 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. But with Femi, it’s, like, a situation. So I just said to my mum, ‘You need to change this. It’s exceptionally well-crafted by south Londoner Shola Amoo and loosely based on the writer-director’s own younger years. At that time, that’s what he associates with the area. It’s madly surreal and the most beautiful kind of closure to many things. I think, ultimately, the way South London is depicted in the film in contrast can seem negative. London W1A 6US Countless [school] register situations where they were just butchering [my name]! 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. Shola: I had a similar dissonance from moving from, let’s say, a racially monochromatic space, to a more diverse space, and [my] landscape shifting. 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? View Shola Amoo’s profile on LinkedIn, the world’s largest professional community. Shola: Yeah, definitely. Yeah, more anglicised. 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. Anchored by a debut performance from Sam Adewunmi, Definitely. 1 Rating. It’s quite interesting. 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. digs into the specific identity crisis of being a young black man of dual heritage in England. 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 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 was relating back to my teen years a lot, so that’s what felt authentic to that time and space. Shola: I think that’s just serendipity in that sense. I was always questioning these parameters, and when are you allowed to break them or not – that sort of stuff. But, could ever really pronounce it, and they would butcher it and I would get teased. One of the things that holds most people back is finding an entry point. Summarising the project, Shola Amoo said: “This piece deals with subversion and perception. Did either of you find yourself trying to live up to a certain image? 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. So that’s a feeling you associate with the ’00s? Featuring outstanding performances from a standout cast, this stunning new film from writer / director Shola Amoo is simply unmissable. Shooting so close to home on the Aylesbury Estate, East Street and Deptford High Street, all of these places I’ve known so well. He's better known for THE LAST TREE, which came out last year, and which I'm looking forward to catching up on. I think that even probably continued past adolescence. 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.. There was, actually. The kind of cognitive dissonance that Femi himself was dealing with. Brixton was a central point. Yeah definitely. 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 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. Just get people to call me Samuel.’, That scene where Dean’s teasing Femi, it’s not like Dean’s white. But when I was growing up, it felt way more entrenched – the parameters for this were so tight. PO. To mark its release, the director and star Sam Adewunmi discuss their own experiences navigating identity and location. 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. But also to the point where I don’t know if the next film I’ll make will be in the UK. Was making The Last Tree your way of finding that? Holiday Song: Jim Sclavunos Supports Endangered Venues With Masterpiece. It’s something that I grew up with myself. 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. Whereas, I’m sure there is an evolved version that would be interesting to see. It was such a bookend for an era of South London and being here in the UK – growing up and all the experiences. 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). Shola Amoo’s second film follows a Nigerian-British foster child as he moves from the countryside to the city. 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. 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. 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.”. Amoo Writer and director for film and television. 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. 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. 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. See the complete profile on LinkedIn and discover Shola’s connections and jobs at similar companies. Just get people to call me Samuel.’ That scene where Dean’s teasing Femi, it’s not like Dean’s white. Shola: Yeah definitely. The actor that played my dad, his name… that’s also the name of my dad. Was there a particular moment that stood out for you where Femi’s troubles embodied your own? And if you had the more anglicised name like a Dean or a Toby, you weren’t really stressed. 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. So I just said to my mum, ‘You need to change this. Sam: I was just, like, woah. There aren’t diverse people telling the stories. 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 are going with the idea that location is character, and I get so much energy from that. At that time, that’s what he associates with the area. And in The Last Tree, we’re back in South London, and working that relationship. I just feel like I’ve said so much about it, between. 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 … It was such a bookend for an era of South London and being here in the UK – growing up and all the experiences. Trevor takes watch one night at the water's edge. There are many people who will see the film and feel, ‘I recognise myself’ or, ‘I see myself’ – in that person, and those relationships. From left to right: The Last Tree's actress Gbemisola Ikumelo; writer/director Shola Amoo; actor Sam Adewunmi, and composer Segun Akinola, at Sundance 2019. alan mark/sundance film institute The Last Tree , presented in the World Drama section at this year’s Sundance festival, is written and directed by Shola Amoo and is a semi-autobiographical film. immersive storytelling National Film and Television School protest art Shola Amoo StoryFutures Academy virtual reality. 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. I feel like it’s a lot looser now. 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 … I’ll be like, ‘Yeah, yeah yeah I heard that track.’. 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. – 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’. 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. But no one could ever really pronounce it, and they would butcher it and I would get teased. Shola Amoo’s low-budget multimedia debut, A Moving Image, saw the British writer-director push back against the gentrification of inner city areas like Brixton, a rare point of discussion on screens of any size in the UK.Amoo has now followed this up with a coming-of-age story told from a perspective also rarely given the time of day. 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. It’s quite interesting. Whereas, I’m sure there is an evolved version that would be interesting to see. 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. Trailer Ratings and Reviews. In terms of location and character, it’s such a big deal in [debut feature]. Sam: There was, actually. I guess in some sense, yeah. get on to you for you being African, when it’s like… we all came from the same place, why are we…? Shola: Definitely. 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. Naila Scargill is the publisher and editor of horror journal Exquisite Terror. The Last Tree Written & directed by Shola Amoo. 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. Since the open call in late 2019, 11 projects in total have been awarded funds. 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. 5.0 out of 5. 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. I’m working on my relationship with my father so that moment in Lagos in that house it just felt quite…. The tool will inform our understanding of virtual reality as a medium, and provide invaluable insights into how audiences experience VR. It’s madly surreal and the most beautiful kind of closure to many things. Skype: Trebuchet Magazine. Trebuchet Magazine But we add those other elements that include Lincolnshire and Nigeria. I’ll be like, ‘Yeah, yeah yeah I heard that track.’. 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. 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. He’s another black boy himself, probably of Caribbean descent or something, but that was a massive. I was relating back to my teen years a lot, so that’s what felt authentic to that time and space. 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. Yeah, definitely. Shola Amoo's first feature. 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. Sam Adewunmi is outstanding in British director Shola Amoo's sensitive take on race and identity. 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. I had a similar dissonance from moving from, let’s say, a racially monochromatic space, to a more diverse space, and [my] landscape shifting. Like Huck on Facebook or follow us on Twitter. 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. Corrina talks to writer-director Shola Amoo and lead actor Sam Adewunmi of The Last Tree. It’s a place that I’ve always wanted to shoot in and spend time in. I imagine you’ve both had issues with becoming… maybe not more naturalised–. Writer, Shola Amoo, says: “I’m very excited to be a part of this ground-breaking project for the BBC. 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. There was only so many things you could do to be perceived to be black, which I found so interesting. 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.

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