RadicalMedia’s Amirah Tajdin: From Period Ads in Crisis Zones to Ashley Graham’s Nudes

The term ‘melting pot’ is thrown around rather a lot these days. Oftentimes, it is warranted; but I’ve seen few pots contain as many multitudes as photographer and filmmaker Amirah Tajdin’s.

The cultural chameleon welds together the experiences of being a mixed-race Kenyan, living in Dubai, and studying in South Africa and the USA, and pours it all into global work with RadicalMedia, Loveboat, and Scheme Engine.

From Cadillac to adidas to Louvre Abu Dhabi, her commercial portfolio contains a little of everything. Cheekily teasing model Ashley Graham’s nudes for SPANX? Tick. Honouring desert scenes and nature’s gifts for Saudi Tourism? Tick. Weaving a mixed media tapestry of women’s entrepreneurship for Galaxy? Also tick. 

Above: SPANX ‘Silver Linings’ 

That’s not to mention Amirah’s various awarded short films and documentaries, which have demonstrated a keen awareness of the intricacies of identity and connection in an impressive range of communities. There’s ‘Fluorescent Sin’, a Nairobi drag queen’s ode to otherness; ‘SISTERHOOD’, platforming young ambitions for Girls Who Code; and ‘Marea de Tierra’, an exploration of love and its loss across generations. With her debut feature in development too, the Sundance Institute fellow is the first Kenyan director to be selected for both the Screenwriters Labs and Director’s Lab.

To dissect the contents of this brimful pot, LBB’s Zara Naseer caught up with Amirah, uncovering a nuanced point of view that’s just as multifaceted as her body of work.

LBB> You’re Kenyan, have lived in Dubai, and studied in South Africa and the USA. How do all those cultural influences bleed into your UK and German commercial work with RadicalMedia?

Amirah> I used to say I was “culturally disorganised” for a while, as a bit of a joke but also truth, because I’m also mixed race in addition to all of the above. But as I get deeper into my career and see more of the world and meet new people from various walks of life, I find that it’s what makes me, me. And my work whether commercial or independent is truly an extension of me – so I guess I bring a varied type of insight to the human themes we explore through any TVC be it German or British. The twist being we’re all so much more similar than we think in our shared life experiences – which makes me a bit of a chameleon! 

LBB> To someone getting to know you as a commercial director, what one film of yours would you show them? Why does that commercial best represent your directorial style?

Amirah> Wow, that’s a hard one! Can I have two?! There’s a Pepsi commercial I did in 2019 that still holds a special place in my heart – it’s got a shiny TVC copy/aesthetic, it’s got a bit of portraiture, it’s got good motion and it’s just fun in its art direction. There was also a rare 360 synergy between production and the agency… But to be specific, they valued and honoured my creative and I valued and honoured their brief and it came through in the end. I can still watch it six years later and not cringe. 

Above: Amirah’s Pepsi Black Middle East commercial

LBB> You also work across feature and short films, music videos, and photography – within that entire portfolio, which project are you proudest of, and why?

Amirah> My feature is in development, but I do love it even in its script-only form. With my short films, each one of them means something different to my level of pride – but the all rounder would be my first ever short film ‘Fluorescent Sin’ I made back in 2011. The fact that 14 years later I still get requests to screen it at even the most grass roots LGBTQ festivals or programs really does bring me big pride because it means something to the people who get to curate it or watch it and continues to resonate to new audiences. It’s a little janky and evidently a shoestring production but it’s managed to remain a timeless piece of art. It was also the film that laid the foundation for my working relationship and business partnership with my sister, producer Wafa Tajdin, so it symbolises a lot for me.

Above: Amirah’s short film, ‘Fluorescent Sin’

LBB> Strong, beautiful women feature prominently throughout your body of work, as entrepreneurs, mothers, pioneers, models, and more. When directing and filming them, how do you ensure you celebrate them respectfully, staying away from typical ‘male gaze’ framing (even when teasing Ashley Graham’s nudes for SPANX!)?

Amirah> I put myself in their shoes and always ask myself if I’d be comfortable being framed or dressed or posed or naked that way. And I always ask them if they’re comfortable with the latter too and give them the option to say no if they’re not, no matter how big or small their part in the project is. And if it doesn’t feel true to them even if they’re playing another role, we work toward what does feel true.  

It’s creating a safety and kindness for them and respecting their trust in not only me as a director but the entire crew and eventual audience they stand in front of. I do a lot of spiritual self-work and balancing my masculine and feminine energy is a big thing for me, so I credit the ‘staying away from the male gaze’ to that. It’s easy to get caught up in the visual clutter of how we’ve been visually framed by men for thousands of years, but also finding the truth and beauty that resonates in why men framed us the way they did, it’s not all terrible. 

I’ve had many women-cast (at varied levels of their careers) thank me after wrap for “being the first director who’s been kind” to them, and I’m always shocked and humbled by that statement. 

Above: Galaxy ‘Your Pleasure Has Promise’

LBB> What’s been your wildest or most challenging experience on a commercial shoot?

Amirah> It happened this summer. In Beirut. I finally landed the tampon/menstrual pads commercial that I’ve been wanting all my career and it came with MADNESS. A city on the brink of war, (we lost a location because it was rocketed), a chaotic orchestral-like relationship between agency and client, a remote client despite this being a big deal for them, an agency team of only women (I don’t believe in mono-representation, we second guess ourselves too much), my lead on day one suffering from really bad period cramps (the irony), a back up cast member who turned out to be very camera-shy and overwhelmed being on set for the first time when she got the role after the first option couldn’t make it. I had an overwhelm moment on set when I looked at my DOP and rhetorically asked him why I didn’t want to just be a simple girl growing up, maybe a receptionist? 

And combined overtime of about 14 hours on a two day shoot. It was the first time I had to take a stand as a director – when I made myself persona non grata with an agency (much to the relief of a very understandably stressed producer) and told them my crew were not carrying on and that was that, we were done giving the ‘demo pack shot’ anymore attention six hours into overtime. The client would have to forgive them. I’m pretty sure they still don’t like me… It’s a cute commercial. Could have been cuter though.  

LBB> Diversity is a topic that’s close to your heart – in creating your films, what actions do you take to champion it that others can learn from and emulate?

Amirah> Don’t stage it, believe it. ‘Diversity’ is my reality so I have a very biased lens to what that should look and feel like, but even I get sidetracked on making sure we’re doing the right thing and showing the world for what it is on screen – when you’re in the throngs of pre-prod or trying to make sure you win a job, it happens. Write your treatments consciously, people watch at the mall or high street, travel, call agency creative out if it isn’t diverse, most of the time they’re receptive. Call them out when it’s 'too diverse’ – yes there is such a thing – it can get silly when we force issues. 

As directors we have the privilege of being punks with a cause that agency creatives don’t always have with the clients, we have less to lose than them, so we owe it to audiences and said agency teams to be their allies in doing that extra convincing. 

Above: Cadillac ‘Brightest Light Qabila'

LBB> You’re now a decorated director who's worked with huge brands, played at tens of festivals globally, and has a feature film in development. What advice would you give to other women and people of colour trying to make it in this industry?

Amirah> It still feels like I’m just getting started to be honest. But I must remember to take stock and I am grateful for the journey so far because this industry is a beast. And a lot of what you’ve listed has come at a cost, no regrets, but I’ve made difficult decisions and sacrifices along the way.

So I would say, find something that grounds you spiritually, don’t compare yourself – as minorities we have to work twice as hard to get half as far – be brave, don’t be afraid to speak up when needed, don’t alienate the allies if they don’t get it, they’re also on a journey and fighting the good fight. Read books, look at art, and take care of your gut health, because as women and as POC we’re much more susceptible to the detrimental effects of stress and there will always be stress. And be prepared to lose, success only comes in seasons. There will be more wins along the way. 

Above: Amirah’s commercial for luxury brand, Farfetch

LBB> What’s inspiring your creativity right now? And are there any current trends on the commercial scene that you’re excited about?

Amirah> I’m a bit of a Sufi, so nature and words are taking on a new appreciation in my POV. Radical rest is also proving to be very fruitful fuel for my creativity. On trends, I quite like the return to more humanistic boards, simple copy/setting and bold art direction. The latest Gap commercial and the Carhartt eight-second ride rodeo piece were lovely testament to that. No more ‘hectic transitions’ please!! 

LBB> What’s next in the pipeline for you? What goals as a commercial director would you like to achieve?

Amirah> On a personal front, writing a book of love poems and learning piano. Commercially, exploring animation a bit more whenever I get the chance. On goals, I still want that delicious, fun, Nike commercial – it’s the ‘90s kid in me. And a Mercedes spot. A Super Bowl spot would be nice too; a girl can dream.