WHAT'S LOVE GOT TO DO WITH IT?
Other movies
TALES ON THE BANKS OF THE BOSPHORUS
Director: Zeina Sfeir
Stories and tales that have spread to over 150 countries worldwide, exploring themes of lost love, the foundations of life and family, and human stories devoid of "superheroes," were filmed in beautiful Turkish cities with brilliant stars who have won the hearts of viewers: this is the Turkish drama, known as "dizi." Today, the "dizi" genre is considered among the most successful series, enjoying immense popularity across the Arab world and as far away as South America and Africa. The question arises: how has an industry from a country with little foothold in distribution and filming in a minority language managed to achieve such rapid and extensive global reach? Through interviews on set with directors, producers, distributors, and stars, we uncover the secrets behind the success and behind-the-scenes stories of this drama.
K-POPS
Director: Anderson .Paak
Eight-time Grammy winner Anderson .Paak makes his film debut with the story of a washed-up drummer whose life turns around when he meets his teenage son for the first time. Paak himself plays the father BJ, who is still holding out in middle age for rock’n’roll stardom; his real-life son Soul Rasheed plays the fictional Tae Young, whose mother Yeji is Korean. When BJ gets an unexpected gig on a Korean talent show, he discovers Tae Young, a hotly-tipped contestant. Eager to make up for lost parenting time, BJ becomes the boy’s mentor – but the truth is that he needs help to grow up himself. Riffing off their real family relationships, .Paak’s comedy is an instant winner full of charm and K-Pop fandom.
FREEDOM WAY
Director: Afolabi Olalekan
When two young software engineers set up EasyGo, a ride-sharing scheme for commercial motorcyclists in hectic Lagos, it is a godsend to riders like Abiola, who is soon depending on its customers to support his family. The success of the app, however, attracts the attention of corrupt police and government ministers who contrive to get it banned. Other stories – one about a doctor wrestling with his conscience, one about two police officers at loggerheads over the common practice of shaking down young people in the street – show that this kind of low-level violence is everywhere.. Like Lagos itself, the melodramatic storylines are fast and intense; as the characters’ stories start to dovetail, as if the city itself were pushing them together.