History has been made today (August 26) and filmmaker Obi Emelonye is at its forefront.

For, his latest movie ‘Black Mail’ has been unleashed and breaks new ground by becoming the biggest ever release of an independently produced and distributed Black Brtish film. It’ll notably be playing in 100 cinemas across the length and breadth of the UK.

The high-octane story centers on an actor who is also a dedicated family man. Targeted by an international criminal operation, his world is rocked when his private life is used as a means of extortion.

Ahead of the film’s release, That Grape Juice caught up with Emelonye, who opened up in earnest about the film, his goals for the future, and much more.

That Grape Juice: Congratulations on the release of ‘Black Mail,’ which makes history as the biggest ever release by an independently produced and distributed Black British film to date. How does that feel?

Obi Emelonye: It feels great to have come this far. We do not forget the journey that brought us here. While we aim higher, it is only right to give thanks for little mercies. Having said that, all of these achievements will turn hollow unless this milestone is used as a stepping stone for bigger things to happen in independent Black British Cinema. 100 cinema is a great start but who says we cannot have an unlimited release of a Black British film? That day is not far at all…I hope.

That Grape Juice: Having made a splash in Nollywood and the UK, you’re breaking down barriers on a global scale. When starting your journey, was that always the goal?

Obi Emelonye: If I tell you I had this world-conquering strategy at the beginning, I will be telling a big lie. In our world, we do not make very long-term plans. We live day by day and project by project. So, when I abandoned law practice to concentrate on filmmaking in 2006, I knew that the day would come when I would get the recognition that my talent and effort deserve. In what form that would come or when that would be, I did not know. All I had was the satisfaction of loving what I did and doing what I loved. The goal from there was to learn, grow, evolve, and use everything I have to carve out a niche for myself and find job satisfaction. I have found it. I have also found happiness. Not many people experience them in life. So, whatever I get over and above this priceless contentment is, as they say in Nigeria, ‘jara’ or a bonus.

That Grape Juice: What were the best and most challenging moments bringing ‘Black Mail’ to the big screen?

Obi Emelonye: ‘Black Mail’ was shot in the lockdown in October 2020. You can imagine the impact of the restrictions on an industry that had intimate interaction as an imperative. Many film projects were suspended but I told my team that we would make this film if that was the last we did. So, we ‘bubbled’ up to ensure we were allowed to interact and that insularity impinged on the aesthetics of ‘Black Mail.’ There were no crowd scenes in the film and in that logistic austerity, my creativity as a director was piqued. I had to be improvisational, thinking outside the box to achieve creative aims without logistical backing. For example, in the scene where Nikki (Julia Holden) was interviewed by the press, I decided to use flashing camera lights and shallow depth of field as veneers for the lack of press numbers. And I must say that it worked.

Secondly, financing a film is difficult at the best of times. But in the bleak economic and existential reality of the lockdown, finding money to make a film was as tough as ever. Originally, Black Mail was budgeted closer to half a million dollars. In the end, I had to make do with 100,000 USD. I was grateful to my executive producers for the lifeline and the gift that helped me to practice my craft when others were hibernating.

That Grape Juice: Diversity has been such a buzzword in recent years. As a Black independent filmmaker, how much would you say things have changed and what would you like to see more of?

Obi Emelonye: Diversity has been bandied about as a term that pays only lip service to the huge disparities in opportunities, aspirations, and outcomes based on color, ethnicity, and social and economic standings. The establishment has adopted the tokenism of this new sociological craze and it is evident in the highly disruptive ‘positive discrimination’ that the BBC and Channel 4 have started practicing with their projects. You see the token black person in TV shows and adverts. What is required is a level playing field at the above-the-line strata of productions. Once diversity is reflected in the execs, the casting directors, the producers, scriptwriters and such like, then diversity will organically seep into productions. Then BAME actors do not have to all fight for that token role when the story has been told in a manner that is likely to reflect the actual demographics of the country. A country that has 17% of its population as BAME should not have BAME representation on the screen (large or small) of less than 2%. For so long as white middle-class men are exclusively in charge of these higher management positions in TV and film, the status quo will remain despite the effort to put this politically correct facade over it.

That Grape Juice: When speaking with filmmakers and those in front of the camera, I very often hear how they take experiences from one project as they continue on their journey. What is one thing you’ll be taking with you from the ‘Black Mail’ creative process?

Obi Emelonye: Filmmaking experience is cumulative. We, creatives, are like litmus paper. We absorb whatever we experience and use it to contextualize our previous knowledge. Black Mail represents my first deliberate attempt to tell a story that dares to stray away from the safety of the Nollywood cosmos. The writing and the direction had to be skewed in a certain style to make it more palatable to western audiences. The structure of the narrative, the acting style that I elicited from the actors, were all slightly nuanced by what I call a mainstream aesthetic. In a way, stepping deeper towards the center of international filmmaking conventions gave me a snippet of what will be possible as I strengthen my unique position as an African diasporan at the crossroad of two film cultures. Going forward, I’ll continue to grow my international film flavor but of course, without losing my local connection and essence in Nigeria.

That Grape Juice: What’s next for Obi Emelonye?

Obi Emelonye: Filmmaking is a continuum. There’s no arriving in it. As soon as you achieve one challenge, there are many more waiting for you. At every point, I am juggling a few projects in the air; small, medium, and large projects. I am in advanced conversations with some of the streamers about collaborating on some projects. With the landmark achievements attained by ‘Black Mail,’ particularly this unprecedented theatrical release, I guess their enthusiasm to engage with me in these conversations will be heightened.

That Grape Juice: I was on the edge of my seat watching the film, but for audiences more broadly: what are three reasons why they ought to go and see ‘Black Mail’?

Obi Emelonye: I was telling a friend the other day that there was nothing like a perfect film. But when a film has won the “Best Film” gong from the most prestigious film award in Africa (AMAA); when it has screened at 9 international film festivals, including the British Urban Film Festival (BUFF) (3 of them as opening film); when a film has secured a special command performance at the iconic Smithsonian Museum in Washington DC; when it is the subject of a historic 100 cinema theatrical release in the UK; when it deals with a cutting-edge, contemporary subject matter; when it counts UK biggest film PR agency (DDA PR) and Hollywood’s biggest artist agency (CAA) in its corner; then there must be something about it. And it deserves its place in the limelight and commands the right to be seen. ‘Black Mail’ is commercial independent filmmaking at its very best. It is the perfect example of how to take a simple subject matter, and make it into a film. with a modest budget and then squeeze every ounce of commercial value out of it. Finally, ‘Black Mail’ represents a unique opportunity for Black Independent film to make a compelling case for its commercial viability. Its success will transcend making me and my backers some little money. It will become a reference for future indie projects in the UK, a yardstick for success, and a reason for the mainstream cinema establishment to either keep this window of opportunity open or to shut it in our faces. It is therefore in the best interest of all black people and those who crave real diversity in UK cinemas to ensure that ‘Black Mail’ succeeds commercially with this epic release. Its success in the cinemas will be a barometer for the future of Black British indie filmmaking.

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‘Black Mail’ is out now in cinemas across the UK. Click here for more information.

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