The Evolution of Self-Acceptance as a Black Woman
“The shift in black women’s relationship with themselves compared to the past is incredible. Now we can look on the TV and in the media and see ourselves represented in all forms.”
From hundreds of submissions, five short films were selected to screen at the 23rd annual HBO Short Film Competition at this year’s American Black Film Festival. The festival will be hosted on ABFF.com from August 21–30, with more than 100,000 virtual attendees from around the globe anticipated to attend. As part of this year’s Short Film Competition, emerging writers and directors presented narratives that ranged from gut-wrenching tragedies to subversive comedies and a journey into self-exploration.
Director Ethosheia Hylton is known for her vast array of work which has won numerous awards. Co-writer and producer Joan Iyiola (who plays Daisy in their ABFF finalist film) is a British-Nigerian actress and producer based in London. She is best known for playing the title role in The Duchess of Malfi at the Royal Shakespeare Company. Below, Hylton and Iyiola discuss the themes of Black women and self identity in their short film DỌLÁPỌ̀ IS FINE.
How does it feel to be the winners of the 23rd Annual HBO Short Film Competition at ABFF?
Iyiola: We are incredibly grateful for this award and proud of our entire team. Here’s to many more stories that celebrate and inspire young black women.
Why did you decide to submit your film to ABFF’s HBO Short Film Competition?
Iyiola: We decided to submit our film to ABFF’s HBO Short Film Competition because it was the festival that we were the most excited to participate in, based on its commitment to community and its celebration of Black artists. It is an honour to be a part of ABFF 2020.
Hylton: I’ve been following the ABFF festival for many years and submitted films to the shorts competition in the past. I was unsuccessful but determined to be a part of the festival one day. It was always at the forefront of my mind whilst making this short that it should be submitted.
What inspired you to write this story?
Iyiola: A few years back, I had read a short story called “Sunita” on BBC Radio 3 written by co-writer Chibundu Onuzo. We met and became collaborators, and adapted the story for screen as we felt that this was a narrative that we had yet to see on screen, and we related to so many aspects of Dolapo’s story. We wanted to show a middle-class Black girl within a boarding school environment, and tell a celebratory story, sprinkled with some Black girl magic.
Are any moments or themes in the film inspired by your own experiences?
Iyiola: Yes, so many of them resonate! When Imogen goes to touch Dolapo’s hair? I’ve been there so many times that my reflexes are as fast as a superhero’s. Being the only Black person in a white space and the microaggressions that follow. Navigating intergenerational relationships. Wondering where my wig has really come from…
Hylton: There are many aspects of Dolapo’s journey which remind me of my teens. Having a name that nobody could pronounce, loathing my hair and the embarrassment of having to sing in front of the entire school. I saw my tumultuous teens reflected in Dolapo’s world when I read the script and knew immediately that I wanted to direct it.
How have Black women’s relationships with themselves (hair, body image, etc.) changed for the better?
Iyiola: Ha! It is always changing! I remember when I first released my natural hair for a role, my mum constantly asked me how I was feeling and if the world was treating me differently. I knew in those conversations that we were moving through an evolution on Black women’s relationship to themselves. I stand on her shoulders, and her experiences guided me towards loving my Blackness and womanhood. One of our hopes for the film is that it encourages Black girls and women to walk with confidence. When we do, it is a powerful statement for the world to see.
Hylton: The shift in black women’s relationship with themselves compared to the past is incredible. Now we can look on the TV and in the media and see ourselves represented in all forms. We aren’t ashamed to show our natural beauty and self-expression is evident in all forms. With better understanding of how insidious the past representations of black women on tv and in the media have shaped self deprecation, I feel black women are now freeing themselves from this and embracing their beauty in all forms.
Do you believe self-expression can exist in the corporate world?
Iyiola: Yes, but we are not there yet. We need more Black women in positions of power. In the film, Daisy has had to assimilate to get to where she is, and there is no one else that looks like her in her working environment. But, imagine if she was able to code switch with another colleague, or better yet, set the tone as a leader.
Hylton: Yes I do, and I feel it is for the individual not to conform if they feel they are being stripped of their identity. We are all individual and unique and as long as you’re doing your job you should be free to express yourself free of judgment in any environment.
What advice would you give aspiring filmmakers trying to break into the film industry?
Iyiola: Start before you are ready, there is never a ‘right’ time to begin. Choose a story that you connect with deeply, and build a team of those that passionately share your vision. Celebrate the differences between you and make space for each filmmaker’s artistry to shine.
Hylton: My advice would be to never give up. Preparation meets opportunity so always be prepared. Study your craft, make your films and submerge yourself into the word of film. Tell your story! This is a tough, cut throat industry and when you are starting out can seem completely unachievable. But tenacity and passion for your art will lead you to achieving your goals.
