Kiosa Sukami Details His Filmmaking for A Letter to Black Men

Kiosa Sukami is a BIFA long-listed, award-winning British-Congolese Writer and Director from London. He has had works screened at several BAFTA & Oscars® qualifying film festivals. He has worked with some of the world’s biggest brands in corporate video and branded content production. Kiosa talks about his work on A Letter to Black Men.

indieactivity: How would you describe your work as a director?
Kiosa Sukami (KS): I am a particular fan of cinematic realism in film-making. I was drawn to cinéma vérité. Particularly when studying the works of Cassavetes. For example, Faces or A Woman Under The Influence. He was particularly known for creating a comfortable and informal environment to freely experiment. The emphasis was on rejection of the director’s singular vision. I allow actors the freedom to interpret characters in their own way. We often replace words during rehearsals based on the results of performance.

How did you get into directing?
Kiosa Sukami (KS): The first time I started watching films was at a tender age of 7. Then my family and I traveled from Kinshasa to the UK to seek asylum from the Second Congo War. I learnt English from VHS tapes my mother got from local car boot sales. I would sit in front of the screen for hours reciting the dialogue from my favorite movies.

Watch Official Trailer for A Letter To Black Men as directed by Kiosa Sukami

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How do you choose a project to direct?
Kiosa Sukami (KS): I write a lot of my films. So its usually inspired by people around me or an idea. They are spawned from something I’ve seen which may just be burning away at me. I am looking for screenwriters to collaborate with though. I think it would be a good challenge to take someone’s idea to interpret it. And to do this in a way that both parties are excited about.

Briefly explain your latest work?
Kiosa Sukami (KS): A Letter To Black Men, is an examination of the portrayal of Black men in contemporary media. It isalso a humbling drama about the role of fatherhood in community. It follows Kevin who is on the cusp of succumbing to a life of crime. He is confronted by a father-like figure in his life. Who has just been released from prison and is seeking recompense. The film revolves around their relationship and the decision Kevin must make for his future.

Explain key challenges on your last film?
Kiosa Sukami (KS): The whole film is self-funded. So, the hardest challenge was being able to produce such an ambitious idea on a shoe-string budget. As I was working in production at the time, I managed to pull in favors from my network of freelancers. They gave me really good deals on rates and equipment. We also had quite a few location moves. Sometimes across the other side of town. So getting the crew back in the zone after being crammed in a car for 45 mins was difficult. Ultimately, the crew size was so small. This meant we all got to know each other really well. By the end it felt like we were one big dysfunctional family.

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How do you prefer to work with a producer during a production?
Kiosa Sukami (KS): I prefer Producers who guide me offering alternative methods to achieve the same creative vision. I like to understand what my limitations are so I avoid exploring ideas that are unrealistic. It can be easy to let your creativity run wild. Sometimes, having those limitations help you think outside the box and simplest ideas can make the best films. I haven’t been afforded the luxury of having unlimited budgets. So, every decision as a director has to be with a producer hat on, yet not sacrifice creativity.

Who is your favorite director?
Kiosa Sukami (KS): That’s a really tough question because I have a few in different genres. Quentin Tarantino inspired me to get into writing, I love dialogue. I like Martin Scorsese for his stylistic approach to story adaptations, Spike Lee for his realistic subject matter, characters and worlds but also Tyler Perry for his entrepreneurial approach to filmmaking. When it comes to comedy, Edgar Wright is my favorite and I’d probably say Danny Boyle for drama.

What advice would you give male/female directors around the world?
KS: You have probably heard this a million times but the honest answer is to just go out there and shoot something personal to you. The first film you make will probably be terrible and you will always be embarrassed by it but it’s the journey and what you learn along the way that is important. You will never figure out what your style is if you don’t at least try and fail a few times.

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Briefly write about your career?
KS: I attended the Bournemouth Film School and my graduation film based on police brutality, Longlfield Drive, starred Chance Perdomo (Chilling Adventures of Sabrina), Harry Eden (Oliver Twist) and Khali Best (Blue Story). It was screened in competition at the London Short Film Festival and the Festival du Cinéma Européen in Lille, France before premiering online via the UK’s leading platform for urban entertainment, GRM Daily.

After a few years working in-house at various leading production companies, I went on to direct my follow-up short film Yolk, which screened in competition at BAFTA accredited British Urban Film Festival and Bolton Film Festival. It premiered online on one of the fastest-growing independent youth platforms for film in the UK, Million Youth Media, where it achieved over 35,000 views.

My latest short film, A Letter to Black Men, has been long-listed for the Best British Short prize at the British Independent Film Awards. Starring Baba Oyejide from Netflix’s Top Boy and Lynsey Murrell, who recently appeared in EastEnders, we won Best UK Short at the 2022 Manchester Film Festival, and nominated for the Best UK Short prize at the BAFTA & Oscars® qualifying 30th Raindance Film Festival.

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