Dreamers director Joy Gharoro-Akpojotor: “In cinema, after you come out, it’s like you stop existing”

by

Joy Gharoro-Akpojotor’s first film, Dreamers, has already been shown at both the London and Berlin film festivals, and she’s discussed it extensively at pre-release events. You might think she’d be ready for a break from talking about it, but she still seems enthusiastic.

She playfully says she’s looking forward to getting some rest once the film is out, but it’s obvious she’s incredibly happy and thankful to have had the opportunity to create it.

Dreamers marks the feature film debut of writer and director, Gharoro-Akpojotor, and is inspired by her own life. The film centers on Isio, a Nigerian woman held in a UK detention center after living in the country without documentation for two years. While at the Hatchworth Removal Centre, she finds support and friendship with Farah as she awaits the outcome of her asylum request.

Isio is asking for asylum in the UK because she fears for her safety if she returns to Nigeria, a situation similar to what Gharoro-Akpojotor went through. Although Dreamers is fundamentally a love story, it must be incredibly vulnerable to share such personal experiences on film, I commented.

Gharoro-Akpojotor shares that watching the film still fills him with pride and happiness, explaining it was a formative experience that helped him grow stronger.

Filming this movie involved a lot of therapy for me. While not everything shown on screen happened directly to me, some of it definitely could have. Specifically, the scene where Isio is talking with the case worker – that dialogue is exactly as it happened during one of my therapy sessions, though it was originally much longer.

Hearing the character ask, ‘How do I know you’re gay?’ really hit home, because that’s exactly what someone said to me personally. Working on this project and reliving those feelings every day was a unique experience. It brought back memories of the past, but also showed me how much I’ve changed. Filming was often emotionally challenging, and I questioned my motivations at times, but that’s something I’ve been working through in therapy.

The director explains that Isio’s story – her path to self-discovery and finding her voice – mirrored their own experience of learning that immigration doesn’t need to be a defining factor in one’s identity.

Even though Gharoro-Akpojotor has been shown at festivals and screenings for a while now, the filmmakers are still feeling a mix of excitement and anticipation as they prepare to release it to the general public.

She admits to feeling both excited and nervous about the film, hoping it reaches a wide audience. She wants it to be thought-provoking, but also wants viewers to connect with the central love story and the themes of immigration it explores. She notes that it’s only the second Black lesbian film to be released in UK cinemas.

I think it’s really important to have this kind of representation, and I’m thrilled about that. I do wonder if people will be drawn to it because of that aspect, though. Honestly, I think they absolutely should – that’s the best reason to watch it.

When Gharoro-Akpojotor discovered how few films featured stories like theirs, what was their reaction? “It’s surprising,” they said. “Some statistics really hit you when you hear them. We knew our film was about a queer, Black immigrant experience, but we hadn’t considered how rare that made it.”

A coworker mentioned they’d been researching films a while back – specifically, Black lesbian films made in the UK – and the only one they could find was ‘Stud Life’. This happened over 20 years ago.

Recently, there’s been a lot of discussion about diversity in film and television, and about wanting to create positive change. But it often feels like these efforts are just superficial. When you look at Black filmmaking, for example, it’s clear there’s still a significant lack of representation and opportunity.

Gharoro-Akpojotor, who founded Joi Productions, has a unique insight into how well UK cinema is currently representing diverse stories. However, she believes there’s still significant progress to be made. As the director and producer of films like ‘Blue Story’ and ‘Boxing Day,’ she notes a real lack of Black-led cinema where people can simply see themselves reflected on screen.

It’s tough making queer films, especially in the UK, and even more so as a Black woman filmmaker. What really bothers me is when people assume a film won’t find an audience, when I think the problem is actually a lack of effort in reaching those audiences with effective marketing. It feels like there’s a reluctance to invest in marketing that would actually get the film seen by the people who would enjoy it.

She explained that she was surprised when she learned that statistic, as she hadn’t realized how underrepresented queer and particularly Black queer people were in film and television. Seeing herself reflected on screen was actually a major reason she became interested in filmmaking.

When she was 19, Gharoro-Akpojotor, a film enthusiast, was searching for movies that reflected her experiences with sexuality, race, and her Nigerian heritage. This wasn’t just for entertainment; she hoped finding these stories would help her come out to her mother. She jokingly recalls trying to find examples of how characters navigated similar situations, but found that all the films she discovered were American, with no representation from the UK.

Gharoro-Akpojotor, a producer who is now also directing and writing feature films, is determined to amplify underrepresented voices. She openly states that her goal is to create stories that show people they are seen and valued, and this passion is what initially drew her to filmmaking. It’s a challenging task, but she’s committed to making it happen.

She’s happy to contribute to increasing representation and the number of films available, but deeply frustrated by the lack of Black queer cinema coming from the UK. She describes the situation as ‘terrible’ and ‘awful’.

During a screening of Dreamers in Ghana, a man questioned Gharoro-Akpojotor during the Q&A, accusing the film of promoting a “gay agenda” in Africa. He warned that if the film were submitted to Ghana’s National Film Board, it would likely be banned, as the country had recently criminalized identifying as LGBTQ+.

The moderator told Gharoro-Akpojotor she didn’t need to respond, but she chose to because she felt it was a worthwhile discussion. She explained that she wasn’t trying to influence anyone, just to make people aware of a topic. “It’s up to you what you do with this information,” she said, adding, “This film won’t change who you are, so why does it bother you what others do privately?”

Although there was one instance of someone heckling during a screening (who actually supported the film’s message), the most rewarding feedback Gharoro-Akpojotor has received is from audience members who felt seen and expressed their gratitude. It’s also become clear through screenings that many people are still unfamiliar with the film’s central topic.

After showing the film to various audiences, Gharoro-Akpojotor noticed many people lack basic knowledge about immigration. She recalls one woman at a screening who recognized her own advantages and then asked a straightforward question: how does someone actually become an undocumented immigrant?

Gharoro-Akpojotor points out that many people have strong opinions about immigration – often simply labeling ‘immigrants’ – without truly understanding how the system works. However, she sees this lack of understanding as a good thing, because her film aims to encourage people to think critically about common beliefs and discussions surrounding immigration and who immigrants actually are. She hopes it will prompt viewers to question what they think they know.

Want to see this content?

This YouTube video isn’t available while you’re signed in to Contentpass. Please sign out of Contentpass to watch it.

It’s become a running joke that the more aspects of your identity you have, the less likely you are to see yourself represented in movies. But seriously, why is it so difficult for UK cinema to tell a wider range of diverse stories?

I’ve noticed a subtle, often unconscious bias in the industry. Many people aren’t even aware they’re doing it. At Joi Productions, we proudly identify as a Black, queer, female-led company, and we want our collaborators to feel comfortable bringing their full selves to the table. We don’t ask anyone to emphasize their identity or explain it to the audience – we believe the characters and stories should speak for themselves.

In my film, Dreamers, I intentionally showed the characters falling in love without ever explicitly coming out to each other. I wanted to capture the feeling of simply being in love, as that’s what it’s like when you’re living it. I grew weary of seeing so many films focused on the act of coming out, because often, once that happens on screen, the character’s life seems to end – it’s like, ‘Okay, they’re out,’ but the story doesn’t show what comes after – the actual living.

Gharoro-Akpojotor explains that people in positions of power sometimes ask people of color or those from underrepresented groups to over-explain their experiences, seemingly because those in power don’t initially understand them.

When you’re around people with diverse backgrounds, they don’t expect you to define your identity – like explaining what it means to be queer, Black, or working class. They simply accept who you are. It’s more about the story itself, not the person telling it. Often in movies, there’s too much focus on why a Black character does something, and that can be really frustrating for writers.

Explaining and justifying stories can be a lengthy process, and it often stifles the creativity of new writers, especially those from underrepresented groups. As Gharoro-Akpojotor points out, with many other films – often featuring white male leads – the character’s backstory isn’t questioned. ‘If it’s a story about a man simply living in the woods or working as an assassin, we don’t feel the need to know how he got there,’ she explains with a laugh.

It’s interesting how we often accept a character’s presence without questioning their motivations, but when a Black character appears, the immediate focus shifts to why they’re there and what experiences shaped them. I think this happens subconsciously – when we don’t immediately connect with someone, we try to understand them by digging into their history. However, we sometimes mistake understanding a character’s background for truly understanding them and finding a point of connection.

Although the story of assassins hiding in trees sounds comical, the film Dreamers actually touches on very real struggles. The filmmaker recalls a producer asking early on about the challenges faced by those coming to the UK – what their journey was like and what obstacles they had to overcome.

It’s likely you’re accustomed to hearing upsetting and difficult stories – you can find them in any newspaper, it’s nothing unique. I’m attempting to portray the lives of these women, who are simply focused on surviving, but he struggled to grasp that. He asked how I could make the audience empathize with them without explicitly showing their suffering. But we don’t typically seek out the trauma of a male character in a similar situation; we don’t ask ‘Where’s his trauma?’

Gharoro-Akpojotor explains that the film intentionally doesn’t focus heavily on immigration, only mentioning it a couple of times. She hopes viewers who feel the character should have escaped, or are frustrated with the system, will recognize that reflects the reality for many people whose struggles often go unnoticed and unacknowledged.

As a film lover, I’ve noticed this director’s film is fundamentally a story about love, but it also really brings the UK’s asylum system into focus. It’s been a bit strange seeing her constantly asked about immigration policies as if she’s suddenly become the leading expert on the whole thing, hasn’t it?

I always explain that I don’t have answers, and I’m no expert, but I firmly believe we all have the power to make choices that matter. Those choices can actually influence what happens in the world. If we want things to truly change, we need to start making different decisions. She points out that immigration is often an easy target for governments – it’s a topic they frequently use to their advantage.

Gharoro-Akpojotor explains that twenty years ago in Dagenham, the British National Party and the English Defence League were gaining prominence. At that time, the common argument was that immigrants were ‘taking jobs,’ but she points out that we’re still having the same debate today. She wonders why this issue persists and why immigration is so often linked to job availability.

The people staying in those hotels you’re protesting at weren’t just casually dropped off; they were placed there. It’s easy to forget why these individuals are seeking refuge – what difficult circumstances they’re escaping. But it’s also important to remember that people move for a better life for all sorts of reasons. Expats do the same thing, whether it’s to find sunshine in Spain or opportunities elsewhere.

The main distinction lies in financial circumstances. Expats are generally assumed to have some wealth, allowing them to invest in things like property. Immigrants, on the other hand, are often presumed to be impoverished and unable to contribute. However, many people seeking asylum are actually skilled professionals – doctors, teachers, accountants – with valuable abilities that are often overlooked.

Gharoro-Akpojotor explained that releasing the film now, with tensions already running so high, actually adds to its unsettling effect.

I especially hope the film resonates with people interested in the issues of immigration. I want a diverse audience – LGBTQ+ individuals, women, people of all ethnicities – and also those who don’t usually seek out films on this topic, so they can explore their own questions and perspectives.

Gharoro-Akpojotor’s next project is an adaptation of Diana Evans’s novel, Ordinary People. She describes it as a moving and realistic love story, focusing on two Black couples in Crystal Palace. The story centers around an affair that surprisingly strengthens a marriage, offering a mature and gentle narrative, distinct from her previous work, Dreamers, yet retaining a similar emotional core.

She explained that she’s determined to broaden the scope of Black representation in film. She wants to move beyond stories solely focused on hardship or culture and instead showcase the full range of Black experiences – the everyday lives, joys, and struggles that everyone can relate to. She’s especially passionate about seeing more Black characters and stories in genres like horror, action, and romance, believing there’s a real lack of diversity in those areas. Ultimately, she wants to see Blackness represented in all its forms across the entire film landscape.

Gharoro-Akpojotor is producing Ashley Walters’s first feature film as a director, called Animol. She jokes that Walters has been incredibly busy, working non-stop throughout 2025 after finishing his previous project, Adolescence.

He consistently puts his work with Animol first, and it’s been a surprisingly exciting journey. I’m thrilled for people to finally see it – it’s truly beautiful and a departure from what people might expect from him. I think this project will really establish him as a unique and compelling creative force, and audiences will be surprised by the film’s direction.

Gharoro-Akpojotor is optimistic about the future and plans to keep producing, writing, and directing her own projects. She points out that many people in America handle all three roles, and she sees no reason why she can’t do the same.

Everyone has a story, and I believe it’s important to be able to share it. We often categorize people in the UK, but what if we stopped and simply let individuals be themselves?

Want to see this content?

We can’t display this content because of a security check from Google reCAPTCHA. To see it, please sign out of your Contentpass account.

Read More

2025-12-05 12:38