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Uzeyman: For quite a time now, I have personally reflected on the violence shown on our bodies. KiKi Layne Takes us Down Memory Lane in Her Latest Role in 'Chip 'n Dale Rescue Rangers' I’m still curious about how you navigated directing the scenes centered on violence - such as the murder of Tekno and the assault that Neptune experiences that so many transgender and intersex folks experience from mostly cisgender men. I understand that from the get-go, neither of you wanted to create poverty porn or trauma porn. The portrayal of the shots of violence in this film is never done in an exploitative way. Not until we came back were we extremely vocal we touched on in the film. We had to get clearance from the government and local authorities. There’s a possibility of endangering people by making the call out that your questioning implies. The film does a great job of not making it a linear narrative. When we talk about the fluidity of the narrative, it’s a reflection of that. These e-waste camps were next to the mines, where the coltan, tantalite, and cobalt were - these things that our modern technology is based on. So, we’ll give you money to pass it there.” American evangelists were flying over there with money and saying: “We can’t pass these laws in the U.S. On The Continent, there were several of anti-gay and anti-LGBTQ laws enacted in countries like Uganda, Kenya, Tanzania, and many other countries. The fusion of modern technology and seeing an ancient form of communication was very inspiring. We watched kids using smartphones and Beats headphones while participating in the local culture - coming home from school, building a drum, and participating in a dance competition in the neighborhood. On the ground in Senegal were the protests against the government there. A film directed by Alain Gomis called Tey. Williams: Anisia and I started conceptualizing this project when we worked on a film as actors in Senegal in 2010/2011.
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They said, “I’d love to be a part of this film.” We thought they would work behind the camera, we heard their story,, a character that was initially portrayed by a dude.Īnisia Uzeyman: We didn’t typecast for many reasons, over there. The way we ended up meeting them was our office. There’s a character named Elohel who is an amazing actor, director, and activist in Rwanda who was outed. Half of our cast are Burundian refugees and arrived in Kigali in 2015 because of the unrest there. However, the entire cast has a role in representing different aspects of this grand picture.
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We had someone who is intersex work with us in the animation department. Saul Williams: In terms of representation in the film and any trans actors, no. Were there any transgender or intersex actors present? Not every intersex person is trans, some intersex people are cisgender, but my question still stands. I love the play with gender throughout the movie. BGN had the pleasure of interviewing the directors of Neptune Frost Saul Williams and Anisia Uzeyman about the nuances of representation and violence. Saul Williams’ Martyr Loser King comes to life in his and co-director Anisia Uzeyman’s Neptune Frost - an Afrofuturistic tale about Neptune, an intersex runaway (Cheryl Isheja and Elvis Ngabo “Bobo”), and Matalusa (Bertrand Ninteretse “Kaya Free”), a coltan miner grieving the murder of his brother Tekno (Robert Ninteretse).