The Work That Made Me: Chelsea Odufu
Chelsea Odufu is a first-generation Nigerian and Guyanese American filmmaker and multi-disciplinary artist working across narrative, experimental film, video art, installation, and photography. Her work is influenced by the hybridity of her ethnic identity speaking to American, African, and Caribbean histories and aesthetics. Chelsea’s work incorporates the mystic, allowing time to collapse in her work where the future, past, and present coincide in her pieces. Chelsea’s work juxtaposes afro-futuristic imagery, archival footage, and poetic approaches to demystify the stigmas typically connected to BIPOC identities. Her work is visually striking, emotional, and thought-provoking, yet it is clear her process comes to her very intuitively. Chelsea received her BFA from New York University Tisch School of the Arts. Upon graduation from Tisch, Chelsea worked with Spike Lee on several projects such as Chi-Raq, and She’s Gotta Have It. Chelsea has created two award-winning films, Ori Inu: In Search of Self (2016) and Black Lady Goddess (2020), which were official selections in over 20 film festivals worldwide. Chelsea Odufu was among twelve artists selected in 2021 for Kehinde Wiley’s Black Rock Senegal Residency in Dakar. She has exhibited her work at the Dakar Biennially, Alabama Contemporary Art Museum, Museum of Contemporary African Diasporic Art, and then I A&A Hillyer Gallery in DC. Her work has been featured in the New York Times and Huffington Post, to name a few. Chelsea has directed content for brands such as Chanel, Dr. Martens, Target, Cadillac, Bose, Walgreens, Brand Hologic.
The ad/music video from my childhood that stays with me…
Chelsea> The two music videos from my childhood that really stuck with me are Busta Rhymes & Janet Jackson’s “What’s It Gonna Be” and Busta Rhymes’ “Put Your Hands Where My Eyes Could See.”
“What’s It Gonna Be” was one of the first times I saw an Afrofuturistic aesthetic on-screen. The video had this celestial vibe with black folks shape-shifting and meta-morphing into spaces, and it got me curious about the whole concept of Afrofuturism. It definitely helped shape my identity and vision as a creative.
And then there’s Busta Rhymes’ “Put Your Hands Where My Eyes Could See,” which showcased Africa and spirituality in a way that caught my attention. Being a first-generation Nigerian and Guyanese, I rarely saw positive depictions of my culture on screen. Busta’s video was a breath of fresh air in that regard. It was just something different, you know, and it left a real mark on me.
The ad/music video/game/web platform that made me want to get into the industry…
Chelsea> There isn’t a specific ad, music video, game, or web platform that inspired me to get into the industry. For me, it was more about the people and their careers that really lit that spark. They showed me all the incredible ways you can dive into film and photography, from music videos to film, commercials, and fashion.
Back in the day, I was seriously inspired by Vashtie Kola and Melina Matsoukas. These two awesome Black women were out there, working with top talents in the industry as female directors. They gave me that vision that being a cool, stylish, young, Black director was a real possibility.
And then, there’s Hype Williams, the music video maestro. I could always tell when I was watching a Hype Williams video because it had this epic vibe and used colour like a boss. His collaboration with Kanye on the “Runaway” film was a personal favourite growing up. It was a game-changer, blurring the lines between music video and narrative film.
The creative work (film/album/game/ad/album/book/poem etc) that I keep revisiting…
Chelsea> The creative work that I keep coming back to is the film “Rebirth is Necessary” by Nigerian director Jenn Nkiru. This film is like a magnetic force for me, pulling me in for repeated viewings. What strikes me most is its unapologetic, experimental, and futuristic approach, all while cleverly weaving in archival footage. It’s the kind of creative work that truly inspires me.
“Rebirth is Necessary” perfectly encapsulates the experimental side of filmmaking I’m passionate about. It’s a prime example of filmmaking that allows for out-of-the-box thinking, unfettered creativity, and a departure from the constraints of linear storytelling. Instead, it plays with time and space, inviting viewers to engage with the medium in a wholly unique way.
In the realm of Black experimental cinema, “Rebirth is Necessary” has earned its place as an almost classic. It’s a testament to the power of pushing creative boundaries, and it continues to serve as a well of inspiration for me as a filmmaker.
My first professional project…
Chelsea> My initial foray into the professional realm involved directing a branded content piece for Cadillac. At the time, I was a 22-year-old, juggling my work for Spike Lee on his Netflix series “She’s Gotta Have It” while also hustling for brand opportunities of my own outside of my role with him. I cultivated a professional rapport with several executives on the Cadillac team, eventually leading to an exciting opportunity to produce branded content for them at the American Black Film Festival in Miami.
This project marked my first experience working with a substantial budget, and it was the first time my team and I were flown out to another state to bring our creative vision to life. The excitement was palpable. Interestingly, as part of the content requirements, I was entrusted with the task of interviewing my boss, Spike Lee, who happened to be one of the honorees at the event.
I vividly remember this experience as a full-circle moment in my career. The day prior, one of my favourite directors had seen me as an assistant, and the following day, he witnessed me in action as a director. It was a memorable milestone in my journey.
The piece of work (ad/music video/ platform…) that made me so angry that I vowed to never make anything like *that*…
Chelsea> There’s this one Pepsi ad with Kendall Jenner from around 2016 that really got under my skin. It was released around the same time as the Black Lives Matter Movement, and it was supposed to showcase Pepsi’s commitment to corporate responsibility. But instead, it ended up being a slightly cringe-worthy ad that felt totally tone-deaf and insensitive to the community most affected by the situation. It was like a fashion film, glamorising the struggle of activists risking their lives to fight for freedom. Although I love Pepsi, it was clear that the creative team lacked true diversity and connection to the situation.
That ad made me swear that I never want to create anything that feels tone-deaf, insensitive, or inauthentic to the community I stand for. It was a lesson in what not to do, for sure.
The piece of work (ad/music video/ platform…) that still makes me jealous…
Chelsea> Melina Mateousoulks’ “Beats by Dr Dre Presents You Love Me” definitely made me a little jealous because it was so good.
It had this raw, tasteful, and unapologetically Black vibe that was captivating. It felt like a genuine love letter to the Black community, celebrating its beauty and strength.
Seeing Melina’s work in that ad makes me hope for opportunities in the commercial world where I can speak up and empower my own community in a similar way. It’s not just about advertising a product; it’s about telling a powerful story that resonates with people on a deep level.
I can totally see myself directing something like that in the future.
The creative project that changed my career…
Chelsea> The creative project that truly shaped my career trajectory is undoubtedly my short film, “Ori Inu: In Search of Self.” This work was a pivotal calling card and the driving force behind my professional journey. Fresh out of NYU Tisch Film School, I embarked on the creation of a piece that offered a fresh and dynamic perspective on the global Black experience.
“Ori Inu” narrates the coming-of-age story of a young immigrant woman who faces the profound decision of either conforming her identity and spirituality to the cultural norms of America or revisiting her roots in the Afro-Brazilian religion known as Candomblé.
This film was a groundbreaking creation, expertly blending elements of magical realism with spirituality. It was one of the first films I saw aligned with the burgeoning Afro-futurist movement of that era. The impact and reach of “Ori Inu” extended far and wide. It garnered the attention and recognition of prestigious platforms such as The New York Times, Huffington Post, Afro Punk, NBC News, and Okay Africa. Moreover, it stood as an official selection at more than fifteen film festivals across the globe.
One of the most significant aspects of this project was the opportunity it provided to tour over 15 top universities in the United States. During these engagements, I delved into discussions on crucial themes related to Black representation in media and the profound concept of Afrofuturism.
“Ori Inu: In Search of Self” was not just a creative endeavour; it was a profound introduction to my unique artistic voice. To this day, it remains a source of deep pride, and its influence on my career has been immeasurable.
The work that I’m proudest of…
Chelsea> I’ve got to say the project that I’m still most proud of to this day is the development and shooting of a proof of concept TV pilot called “Black Lady Goddess.” This TV series is set in the year 2040, when the world has realised that God is a Black woman, and reparations have been issued to all Aboriginal communities. This project encapsulates my identity and my ultimate vision for creativity. It’s a fusion of futurism, activism, spirituality, and tradition, all coming together in a way that’s deeply meaningful to me. “Black Lady Goddess” is one of those dream projects in my portfolio that I’ve still got my eyes set on. It represents a vision I’m determined to see through to fruition. The world it envisions is one I’m excited to share with audiences, and I’m eager to see how it can spark conversations and inspire change.
The recent project I was involved in that excited me the most…
Chelsea> The project that got me pumped recently was when I got to direct a fashion film for CHANEL in Paris. This came a few months after they’d unveiled their Metier D’Art collection in Dakar, Senegal. I was absolutely stoked about the chance to direct a piece celebrating African beauty alongside their latest collection filmed in Chateau D’eau in Paris.
For me, creating fashion-forward work is crucial because it’s all about showcasing diversity and empowering people of colour. And, you know, getting to travel to one of the most enchanting cities in Europe to collaborate with a legendary brand like Chanel was an absolute honour. It was a fantastic experience all around.
