Feb. 15, 2020 01:59AM EST

Courtesy of Universal Music Group.

In Conversation with Daniel Kaluuya and Melina Matsoukas: 'This isn't a Black Bonnie and Clyde film—our stories are singular, they're ours.'

'Queen and Slim' lands in South Africa.

Melina Matsoukas and Daniel Kaluuya are everything their surroundings at the opulent Saxon Hotel are not—down-to-earth and even comedic at times. Despite the harsh lights and cameras constantly in their faces, they joke around and make the space inviting. They're also eager to know and pronounce the names of everyone they meet correctly. "It's Rufaro with an 'R'? Is that how you say it?" Kaluuya asks me as he shakes my hand.

Matsoukas, a two-time Grammy award winning director and Kaluuya, an A-list actor who's starred in massive titles including Black Panther and Get Out, have every reason to be boastful about their achievements and yet instead, they're relatable.

The duo is in South Africa to promote their recent film Queen Slim which is hitting theaters today and follows the eventful lives of a Black couple on the run after killing a police officer. It's a film steeped in complexity and layered themes to do with racism, police brutality and of course Black love.

We caught up with both of them to talk about just what it took from each of them to bring the powerful story to the big screen.

This interview has been edited for length and clarity.

Just looking at some of the roles that you've played in "Black Panther" and "Get Out", in what ways did you have to dig deep to play Slim?

Daniel: I had to dig deep in the sense that he's a man that's very content. And I think you rarely see those kinds of characters being the focal point of dramas. I had to go really away from myself and go, "What do you mean you just want a family and want to stay in the same town you grew up in? Don't you want to explore? Don't you want to see this? Don't you want to see that? Don't you want to try to do this?"

And so I had to really look at that in myself and create an inner conflict for him that made him still dynamic but didn't take away from his integrity of being happy and honest with who he is and being very vulnerable in a really strong way. It was a real challenge for me.

This story of "revolutionary" cop killers is set against the backdrop of the real-life and volatile relationship between the Black community and police officers in the States. How difficult was it to portray that on-screen for you as a director?

Melina: It wasn't difficult because I just leaned on authenticity and our reality. It's something that I think we all can relate to in different ways. I've had my own experiences with police brutality. Daniel has as well. So I felt like as long as I lean into the reality of how we walk through life as black people, and it was honest, I had succeeded in authentically betraying that experience and wanting to put audiences of all colors in that moment and what it feels like as a black person when you hear that siren behind you and you don't know if you're going to survive that situation. So it wasn't difficult because I just was able to lean on our history, sadly.

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Would you say it was much easier to tell that story through the lens of Black love?

Melina: Yeah, I mean that was our healing. I feel like even in times of suffering, we've always found ways to have joy and have love and connections. I love that balance. That speaks to the Black experience quite honestly. I try to create work that reflects that. We don't just live one way. We also speak to the Black resilience and how we're unconquered and that love will always shine through. And we'll always find a way to find that love.

I haven't seen that type of Black love story represented on screen, especially between two dark-skinned people trying to redefine what it is for two Black people to be in love when so much history has tried to tear us apart.

Representation in film matters to you quite a lot. Do you feel this particular movie captured the love story between dark-skinned Black people in the way that you had intended from the very beginning?

Melina: I don't know if I ever have a true intention. It always evolves, right? You go in one way and you're like, oh, I see it like this. But you have to also accept the magic that happens on set and edit and the entire process. Honestly, it became much more than I ever imagined or intended. And they took it to levels that I couldn't have dreamt of.

So it was just working with both of them and seeing that connection and how that translated on screen, it was really beautiful. It felt like something I hadn't experienced and that I've so needed as an audience member and I wish I had growing up. And then there was just a real joy in that artistry.

Would you say your perspective on the relationship between Black people and law enforcement has shifted in any way after playing the role of Slim?

Daniel: No. When I see a script, that's emotion. I don't know, it speaks to me. It's not like, strategically I'm going to do this or do that. It's like yo, this is a perspective that I feel and that people around me feel, but it's not out there, do you know what I'm saying? And I was like I just want to show that.

I have seen those perspectives in life. Whether it's Uncle Earl or it's Bertrand's character, whether it's Queen, whether it's the mechanic. I know those people. For me it was a blessing to be able to present it and to be part of it. I intimately understand it from my perspective of what the relationship is with the police.

Did anything surprise you in the process of playing Slim?

Daniel: I wouldn't say it was a surprise, but I did feel for me what really came to the fore was mental health. And it's little nuances that people don't even realize like when Slim asks Queen a question and then she goes, "I'm okay, I'm good." I said, "You answered too fast." And then later on in the bed she asks him if he's okay and he's like, "Yeah." So he answers too quick too. And he's not okay.

You don't have the luxury and the privilege to really reflect, to have the emotions you have. What are we going to do about it? We got to act.

And then there's this huge delay, especially for Black men, in actually confronting your emotions. I think it really spoke to me that he doesn't cry until the end. And I don't want to spoil it, but at the end when he cries, it's a build-up of all this. This is tough and he just allows himself to feel. And I feel that element of it surprised me. Even at the gas station. For me, he's really toying with suicide. For me, that's how I played it. It was like, "Maybe I deserve to die." He articulates it in the bed but he acts on it at the gas station.

He's in a situation, he's a hostage to a perspective. And so that element of it was like, oh that's really interesting to me that you can present that, especially with Black men and especially with Slim and Uncle Earl being parallels of how they deal with their emotional self. One man is getting drunk and hitting women and one man that doesn't drink at all and says what he feels, but is still dealing with stuff.

Some people have described the film as the "Black version" of Bonnie and Clyde. And while there might be some parallels and truth to that, do you feel that sort of comparison risks an oversimplification of the layered themes in the film?

Melina: Yeah, absolutely. I try to stay away from any White archetypes to describe our stories. I think one of the characters uses that description because he is a simple person and Queen is really upset at that because they're not criminals. These are two people in love who are fighting for their lives and fighting for survival. And I hate Hollywood's tendency to always have to compare us to some other White narrative in order for it to make sense.

"We can just be our own because our stories are singular, they're ours."

In the scene where Queen is shot, is it deliberate that the White female officer shoots Queen?

Melina: Every decision was intentional in this film. It was really intentional that a White woman shoots Queen because it also speaks to the betrayal of gender. And how so many White women choose their race over their gender and that comradery. So we really wanted to speak to that. The majority of White women voted for Trump in our country even though that absolutely doesn't benefit them. But they chose their own bigotry over a smart choice.

What do you hope this particular movie will shed light on that hasn't already been brought to the fore?

Melina: I really want audiences to reflect on themselves and their own thinking. I don't want to tell somebody what they should think. I just want to, like Daniel said, present the world in which we live authentically and truly. And hopefully that creates some empathy. And I think some dialogue for the world that we've created and how some people are forced to walk through it.

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Trevor Noah Wins Prestigious Erasmus Prize

Trevor Noah is the first comic to win the prestigious Erasmus Prize since Charlie Chaplin in 1965.

Popular South African comic Trevor Noah has won the prestigious Erasmus Prize from The Praemium Erasmianum Foundation The award is named after Dutch philosopher Desiderius Erasmus' most famous piece of work.

According to a statement from The Praemium Erasmianum Foundation, Noah was receiving the prize “for his inspired contribution to the theme ‘In Praise of Folly,’ named after Erasmus’s most famous book, which is filled with humor, social criticism and political satire.” (Desiderius Erasmus was a an influential Dutch philosopher from the northern Renaissance era.)

Noah is the first comic since 1965 who has been awarded the honor. The last comic to win the prize was Charlie Chaplin, who received the honor in 1965. Since 1958, The Erasmus Prize has been awarded to recipients who are recognized for a wide range of achievements, including literature, music, philosophy, and social activism. Some of the notable recipients who have received the award in the past include Jorge Luis Borges, Isaiah Berlin, Ingmar Bergman, and Amartya Sen.

The panel who selects awardees for the prize include a committee of scholars and cultural experts who review nominations and make a recommendation to the board of the Praemium Erasmianum Foundation after weighing in on the strength of each candidate. After the recommendation, it is then up to the board to make the final decision on the recipient of the award. The prize is typically awarded in the fall during a ceremony in the Dutch royal palace in Amsterdam.

Beyond his work as a comic, the former Daily Show host has been vocal about his social justice advocacy and has been a strong advocate for human rights issues on a general scale. While he was a host on The Daily Show, he consistently used his voice to highlight other prominent Africans. It is safe to say that the 39-year-old has indeed made South Africa proud.

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The Best Style Moments of Tems

From normcore, Y2K-inspired streetwear, figure-hugging catsuits to high-fashion formalwear, the style of the alt R&B superstar has matured over the years.

With a Grammy win now among her accolades, Tems’ crossover campaign continues to hit spectacular highs. Selling out shows, collaborating with Future and Drake, conquering global charts, lending her voice to a Marvel movie soundtrack, and brunching with JAY-Z and Beyoncé are some of the things her star power has pulled.

Tems, whose 2019 breakout single “Try Me” locked down decent fame in Nigeria, was introduced to fresh ears overseas on Wizkid’s monster hit “Essence.” The Nigerian singer-songwriter has since begun her ascent into stardom. As such, her wardrobe has scaled up significantly. It has found a confident balance between upward luxury and cool-girl DIY-ness. The latter is a holdover from Lagos, bootstrapping as an artiste in the city’s alté scene.

Her stylist, Dunsin Wright, is the creative force behind her many statement looks, especially the hot streak of red carpet moments. Even so, Tems’ body is a marvel on its own, — shapely proportions that reward the camera. And therein lies the complicated relationship between an artist on the come-up and bodily anxieties. A female artiste, to be clear, who styled herself in plain, functional clothes, sunnies and sneakers, with natural hair swooped up or done in long box braids.

Sometimes a catsuit, but big shirts, jackets, and loose pants were a matter of practicality. Additionally, these wardrobe choices appeared to be a self-effacing maneuver around female objectification and to keep the focus on her music.

For corroboration: her Instagram photos were often captured in portraits. And when she stood in full view, a frontal pose was only offered. On social media, a viral appetite took hold, asking her to show more skin or give a back pose.

While Tems hasn’t explicitly addressed this, she’s currently cognizant of the demands of being a celebrity without straying too much from personal comfort. Her style journey is still ongoing. In the meantime, we select her best looks with all the style inspo it brings.

Tems Wearing Pleated Robert Wun

For her 2022 London tour that hit a stop at famous concert venue KOKO, Tems showed up on stage wearing Robert Wun. A custom teal matching set elevated by dramatic accordion pleats. Her long box braids, though the singer’s signature style, harmonized with the flowy pleated details of the look. The show of cleavage from the plunging neckline has been a continuing theme for Tems.

Wun, a London-based Hong Kong designer, had showed off the look in his studio before the concert. On Tems, it was a technical understanding of proportions. But what makes wearing Robert Wun such a big deal is that Wun’s couture debut in Paris was darkly gorgeous, and received praise from the industry.

Perhaps in the future, Tems can reunite with Wun in something decidedly couture to hit the red carpet.

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Tems At the 2022 BET Awards

Tems won Best International Act at the 2022 BET Awards. She made history, becoming the first Nigerian female artist to be a recipient. On the red carpet, she made a show-stopping statement wearing a custom black bustier gown with a thigh-high slit.

From Dilara Findikoglu, it’s interesting to see Tems wear a creation from the rising Turkish-British designer. The gown is Tems’ first black formalwear on a huge stage, in strap heels and a Swarovski necklace to boot. For her glam look, her signature glossy ombre lips and wispy lashes were just right for the occasion.

LOS ANGELES, CALIFORNIA - JUNE 26: Tems poses in the press room during the 2022 BET Awards at Microsoft Theater on June 26, 2022 in Los Angeles, California.Photo by Robin L Marshall/Getty Images For BET

Tems at the 2022 BMI London Awards

Tems joined big winners at the BMI London Awards, taking home the prestigious Impact prize, in recognition of her artistry, creative vision and impact on the future of music. Holding a silver box clutch with an iridescent shimmer, hoop earrings, and stiletto nails polished in metallic chrome, her outfit for the ceremony merged her love for catsuits with a red carpet sensibility.

A white turtleneck gown in stretch silk crepe. London-based photographer Bet Bettencourt, who has been taking photos of Tems at events, showed another view of the gown on Instagram after the awards were over. A slew of sizzling snaps revealed a huge cutout at the back and a comfortable pose.

Tems on the red carpet in a white dress. LONDON, ENGLAND - OCTOBER 03: Tems attends the 2022 BMI London Awards at The Savoy Hotel on October 03, 2022 in London, England.Photo by Jeff Spicer/Getty Images for BMI London Awards

Tems at the 2022 Global Citizen Festival: Accra

Performing at the Global Citizen concert in Ghana, Tems slipped in a turquoise blue lace catsuit with front cutouts from Brielle. The satin wrap of a mini skirt was a nice accent piece, held together by a crystal clasp that could be mistaken for a brooch.

Cuffing her wrist was a diamond bracelet, feet in silver pumps. Given the outdoor concert atmosphere, it was a fun, playful attire. And it’s not surprising to see Tems accessorize with white sunglasses, an ever-present staple in her wardrobe.

Tems in a turquoise body suit and white sunglasses ACCRA, GHANA - SEPTEMBER 24: Tems performs on stage during Global Citizen Festival 2022: Accra on September 24, 2022 in Accra, Ghana.Photo by Jemal Countess/Getty Images for Global Citizen

Tems at Coperni's SS' 2023 runway show

Last year, Parisian brand Coperni grabbed headlines for spraying a dress onto Bella Hadid. This was their spring/summer 2023 show, and Tems was in attendance. Leaving the looming, Romanesque architecture of the venue, the Salle des Textiles of the National Museum of Arts and Crafts in Paris, the singer was dressed in Coperni herself.

A jet-black stretch satin bodycon dress, with a twist and cutout detailing. The thigh-high slit, sheer socks in Coperni bridge platform sandals, and pin-straight hair brought edginess to the picture. A crystal-embellished ring pouch bag from the brand was a statement accessory, subtly contrasting the all-black ensemble.

The dark sunglasses gave a futuristic, techno-chic vibe, an aesthetic Coperni has been working into their brand to redefine the lexicon of French style. That night, Tems took a photo with the founders, Arnaud Vaillant and Sébastien Meyer, showing a decent infiltration into the high-fashion circle.

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Tems in Tommy Jeans

For this photo Tems posted on Instagram, she wore top-to-bottom Tommy Hilfiger and Tommy Jeans. The overlay of the colorblock windbreaker, triangle sports bralette, baggy jeans, open-toe heels, and chunky belly chain can only be described as streetwear chic. More importantly, it’s a delicate juxtaposition of the masculine and feminine dressing codes Tems had been embracing.

Anyone who followed ‘90s pop culture (think Aaliyah) and the renaissance of Y2K fashion will surely appreciate the look. Tems wearing a classic American brand isn’t a random occurrence. In late 2021, she announced she had secured a deal with the global clothing brand. And in 2022, we saw her lead a campaign for Tommy Jeans, the diffusion that targets a younger market.

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Tems in Vivienne Westwood at the 2023 Grammys

With three nominations coming into the 65th Grammys, Tems bagged her first Grammy award in the Best Melodic Rap Performance category. It was for Future’s “Wait For U” featuring herself and Drake, making her the first Nigerian female artist to receive such honor.

Tems played up her femininity, styling her hair into space buns, wearing a gold-corseted Vivienne Westwood number. The bodice had the corset built in, with a draping from the waist that fell into a sweeping train. The nipped-waist silhouette flattered her curves. Layered pearl necklace and gold Tom Ford pumps, it was inarguably a moment of high fashion for the star.

Tems on the red carpet in a gold dress. LOS ANGELES, CALIFORNIA - FEBRUARY 05: Tems attends the 65th GRAMMY Awards on February 05, 2023 in Los Angeles, California. Photo by Lester Cohen/Getty Images for The Recording Academy

Tems on the Cover of Dazed Magazine

For Dazed magazine’s winter 2022 issue, Tems landed as the latest cover star. “Uncut Tems: the rise and reign of the queen of alté R&B” was the headline, and it remains her most provocative editorial spread to date. So much so that she was criticized by internet trolls for which she took to social media to defend herself.

With styling from Ibrahim Kamara, the photo shoot served up sultry images of the singer. Particular standouts: the form-fitting translucent beige dress from Dilara Findikoglu with a bodysuit underneath, strap heels and fringe-framing hair. In another shot: a Sportsmax faux fur coat worn over a Chloé leather dress, and vintage Susan Caplan gold necklace feels like a refreshing take on old Hollywood glamour.

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Tems' Couture at the 2023 Oscars

Nominated for Best Original Song for the Black Panther: Wakanda Forever track “Lift Me Up,” Tems arrived at her first Oscars in a sculptural, gravity-defying puff of couture. Even though she didn’t win (it was a tough category), she turned heads (literally).

By Ukranian designer, Lesya Verlingieri of Lever Couture, Tems was a commanding presence of sophistication on the sand-hued carpet. Further, it showed her maturing confidence as of late. Hand sculpted from gauzy nylon mesh, the bold and breathtaking silhouette newly placed her in the canon of celebrities to look out for at high-caliber events.

With no necklace on Tems, we aren’t sure if this is leaning into the “no-necklace” trend amongst celebrities on the red carpet. Not that the look needed one, anyway. Going bare was smart to maintain a clean focus on what she was wearing. Attending the Vanity Fair Oscar Party, the sculptural hood and elegant puff gave way to a slightly more stripped-down attire.

A cat ear-shaped bustier in black silk crepe, built into a full skirt with drape detail. Thigh-high slit? Of course, a repeated motif we are sure to see more of. For accessories, a transparent PVC choker with a cutout had dots of Swarovski crystals. Altogether, it had a smattering of kinky, a dip into the bondage aesthetic Tems can possibly dial up in the future.

Tems in a puffy white dress a the 95th Oscars carpet. HOLLYWOOD, CALIFORNIA - MARCH 12: Tems attends the 95th Annual Academy Awards on March 12, 2023 in Hollywood, California.Photo by Kevin Mazur/Getty Images

Tems in black dress on a blue carpet walkway. BEVERLY HILLS, CALIFORNIA - MARCH 12: Tems attends the 2023 Vanity Fair Oscar Party Hosted By Radhika Jones at Wallis Annenberg Center for the Performing Arts on March 12, 2023 in Beverly Hills, California.Photo by Cindy Ord/VF23/Getty Images for Vanity Fair

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Watch the Trailer for 'Gangs of Lagos,' Amazon's First African Movie

Amazon's Gangs of Lagos will premiere on April 7th.

Nollywood is coming to Prime Video.

On Monday, the conglomerate announced that it would be releasing Gangs of Lagos, its first original African movie, on April 7th. The project, which is directed by renowned filmmaker Jáde Osiberu, features Nigerian stars like Tobi Bakare, Adesua Etomi-Wellington, Chike Osebuka, Chioma Chukwuka, and Iyabo Ojo.

The movie will follow the lives of a group of friends as they navigate the bustling streets of Lagos.

In a press release, Wangi Mba-Uzoukwu, head of Nigerian Originals at Prime Video, described the movie as a story that highlights the importance of friendship and family.

"Gangs of Lagos is a unique story about family and friendship, against the action-packed backdrop and striking set pieces of the streets of Lagos,” Mba-Uzoukwu said. “As the first Nigerian Original to launch on Prime Video, Gangs of Lagos sets the tone and standard, with the authentically Nigerian storyline in a genre that is so popular around the globe, making it a movie for our audiences at home and abroad.”

Gangs of Lagos - Official Teaser | Prime Video Naijawww.youtube.com

Located on the country's southwest coast, Lagos is the largest city in Nigeria. Over the years, the vibrant city has become known for its bustling economy, eclectic culture, and rich history. The crime drama promises to showcase the nitty gritty rumble and tumble of Lagos, as well as the authentic elements that make it one of the most renowned cities in the world.

Ned Mitchell, head of African and Middle East Originals, Prime Video said that with the roll out, Prime Video was hoping to connect with original voices.

“At Prime Video, we are looking to work with original voices to create spectacular stories and events that audiences can connect with wherever they may be,”

Mitchell said. "Gangs of Lagos launching will truly be a global cultural moment that marks the beginning of a new era in storytelling, where audiences everywhere can see the full power of Nigerian and African voices and the depths of our continued commitment to the local TV and film industry.”

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Mr. Beast and Charity In The Age Of Content

Trying to help the less fortunate in Africa can often be co-opted into commercial videos, images, and product-driven messages.

The story goes: the perfect recipe for a viral charity video in Africa is barren ground, unidentified shoeless Black children, conflicted mothers gazing off into the distance, a fly gliding over still puddles of gravel water, a white voice as an overlay, and a link to donate at the very end.

Charity and philanthropic pursuits have been part of human existence for centuries, from both a genuine human perspective and as a social and political tool to retain power and influence. As the ages pass, it might be high time to recentre the conversation about what our philanthropy looks like. When we’ve gone past the actual act of giving, what happens in and around that? For popular YouTubers, what was the process of producing the video?

For a rising politician, is there a conversation about using images of poverty-stricken communities to, yes, help, but also further an agenda?

Over the years, we have seen countless initiatives from large corporate organizations, small businesses, successful entrepreneurs, celebrities, and more recently influencers and content creators. The goal? To help people around the world. The vehicle? A photo album as evidence, a YouTube video, an Instagram reel, or some sort of visual documentation that goes beyond just the act of charity.

The common argument is that these assets could never be self-aggrandizing but are there to inspire others to either join in or make their own change. Whilst this is generally true, there is something to be said about the quality of messaging that self-proclaimed philanthropists create and maintain. What of the women, men, and children who are part and parcel of why these messages tug on the heartstrings of first-world viewers?

The following three videos are good examples of how a noble pursuit can easily devolve into something unrecognizable. Trying to help the less fortunate can often be co-opted into commercial videos, images, and product-driven messages, rather than about the dignity of the people being assisted in the first place.

Mr. Beast purchases 20,000 shoes for vulnerable South African school children

Giving 20,000 Shoes To Kids In Africayoutu.be

If you have the slightest interest in outrageous and dopamine-inducing YouTube videos, you’ve probably come across a Mr. Beast (Jimmy Donaldson) video. His titles are provocative and inviting enough for anyone to deep dive into the world of video content creation. “1000 Blind People See For The First Time,” “We Saved An Orphanage,” “We Built Wells In Africa” and “Giving 20, 000 Shoes To Kids In Africa.” If you’re interested in the well-being of humanity, these titles might drag you right to these videos. Whilst noble in pursuit, it might be time to continue asking questions.

In the “Giving 20, 000 Shoes To Kids In Africa” video, Beast Philanthropy heads to the Western Cape Province in South Africa to deliver school shoes to disadvantaged children. In partnership with the Barefoot No More organization based in South Africa, Beast Philanthropy was able to organize elaborate shoe handovers for nine different schools in the Western Cape. It can’t be argued that the children who received the school shoes were better for it, but the video itself as a mode of communication is marred with drips of hyperbole and mistruths that fracture the overall picture.

The voice-over remarks that children in South Africa often find themselves entirely shoeless and the day the Mr. Beast foundation arrived was the day many of the children received their “first pair of shoes ever.” The shots of barren land and dilapidated infrastructures harken back to the ‘right’ concoction of footage to garner sympathy from Western audiences.

The multiple close-up shots of shoeless school children leave the viewer to wonder what the process of consent from their parents and guardians was for their participation. If charity, specifically that which is directed towards African children, is the goal, then how they are represented in these videos should always be just as much of a concern.

The video has faced criticism online, with many expressing sentiments about the sensationalism of the video. To which Mr. Beast remarked on Twitter that “our charity owns this channel, I thought it’d be fun to use my fame to create a loop of helping. Film good deed, inspire millions of kids to do good, use revenue from good deed to do next good deed.” It must also be noted that Mr. Beast isn’t the first and won’t be the last to engage in this version of philanthropy.

How To Build A School In Africa With Jerry Rig Everything

How to Build a School in Africa?! - Thank YOU!!www.youtube.com

The video details the process from fundraising all the way to the construction of a school in Kenya. Zack and his wife Cambry are welcomed into the community with a warmth that isn’t uncommon in many close-knit African cities, villages, and urban areas. There’s a level of reverence, however, that the community seems to attach to the couple on their immediate arrival that elevates them to somewhat of a stately position.

The couple is gentle, thoughtful, and intentional in their interaction with the community and the documentation of school building provides an interesting perspective that not many see. Whilst the actions are commendable, what sticks out again in this video is the presence of Kenyan children in their numbers, teachers, and workers.

With the focus squarely on the couple, one almost forgets that the children and adults in the background are people and not props that go along with the sandy roads and lush terrain.

The content that comes along with this type of charity work often, whether intentionally or not, plays into the narratives of powerlessness and lack of agency in these communities that are often referred to by country or continent.

About Serving Orphans Worldwide

About Serving Orphans Worldwidewww.youtube.com

About one minute into this video the line — “the church is the solution to the orphan crisis” appears in the middle of the screen. The viewer sees elegant montages of children from different countries interacting with each other. A representative of Serving Orphans Worldwide remarks that in addition to assistance from their organization, they offer an opportunity for children to grow in their relationship with Christ.

Again we see a promotional video that’s extremely intentional with the messaging in the voice-over narration, choice of camera shots, and overall tone. The agenda is clear — to assist vulnerable children without families from across the globe, but also to promote a Christian message. Whilst it might be noble in intent, what does it mean to offer refuge that comes with subtle conditions?

Countless people around the world benefit from the charity of organizations, people, and leaders. At the same time, in a continent with hundreds of indigenous faiths, why are African children being pointed to faith as their way out of poverty? In a country like South Africa, why are townships being referred to as rural areas? How does an umbrella remark like, “these are their first pair of shoes ever,” make it into the final cut of the video?

Do we forego asking questions about the presence of a well-meaning white man in the building of a school just because he was part of financing it? To say there are only problems and that there’s nothing to be done might be the easy way out. It is possible for content creators and organizations who use video as their method of promotion for charity and philanthropy, to do it better.

When creating content for charity, the Devil is in the details

When you travel to countries in Africa, say their names in your video. If your beneficiaries struggle to speak English, get a translator, subtitle your video, and tell viewers what language they’re speaking. If you feel like you need dozens of children in your video, get consent from each and every one of their guardians — and if that doesn’t strike you as important, ask yourself why.

If you’re going to use a voice-over for narration, make sure that it’s accurate. When you’re filming shots and b-roll to support your video, think about whether you might be sensationalizing the content to pander to your audience at the cost of the people you’re trying to help. I’d like to think that poverty and displacement can never be a reason for anyone’s personal autonomy, dignity, and choice to be ignored.

In a world where content creation and philanthropy continue to intersect, the devil will always be in the details.

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