DIVA spoke to the directors of this hilarious and heartbreaking series
BY ELLA GAUCI, IMAGES BY ARD DEGETO
Black Fruit is a bold, poignant comedy about two queer Afro-German friends navigating life’s messiness. Lalo is reeling from loss and relationship turmoil, but his no-nonsense best friend Karla always seems to have it together – until cracks begin to show. A tender, laugh-out-loud exploration of love, friendship, and self-discovery.
DIVA spoke to the directors Elisha Smith-Leverock and David Ụzọchukwu ahead of its screening at BFI Flare.
Was there a specific moment or reference point which inspired your series?
David: Head writer Lamin Leroy Gibba, and writers Sophia Ayissi, Naomi Odhiambo, Lisa Tracy Michalik, and Sarah Claire Wray have said before that the books are an amalgamation of collective experiences, ideas, and curiosities. Digging into the books, I kept finding layers to relate to – be it strange nights out, abusive work contexts, or the trap of overcorrection that our protagonist Lalo keeps falling into.
Elisha: I had a very visceral response upon reading the scripts. The situations were familiar, and each main character had something I could relate to – or, at times, felt protective of. There’s a depth to them that makes you want to root for them, even when they’re messy, even when they’re wrong. That’s what drew me in.
If you had to describe your series in three words, what would they be?
Elisha: Intense, fearless, necessary
David: Hilarious, heart wrenching, urgent.
What was the most unexpected lesson you learned while making this series?
Elisha: The most unexpected lesson I learned was the depth of collaboration required when working alongside another director in what felt like a creative relay race. From the start, we worked closely to shape its visual language and deepen our shared understanding of the characters as a team, each of us contributing our own style and sensibility. But when it came time to direct – for me episodes one to four and for David five to eight – we had to trust not only each other but also the process we had built together. I’m used to working alone, so this experience pushed me to communicate more openly and let go in ways I hadn’t before. It was incredibly enriching to be part of another director’s process, something we rarely get to see up close.
David: I unexpectedly learned a lot about the amount of care it takes to direct longer narrative forms: beyond holding space for the creative vision, you tend to the needs of crew and actors and production, even to the atmosphere on set. It’s quite a responsibility – very rewarding, but at times definitely also uncomfortable or isolating.
How does it feel to have your series showcased at BFI Flare?
Elisha: Black Fruit has been moving through the world in ways I never quite expected, finding its way into new spaces and new conversations, however the legacy and reach of this festival make it something truly special.
David: I’m so curious about how the show will resonate with audiences in the UK. It’s beautiful that it gets to stand alongside such exciting programming.
BFI Flare is a celebration of LGBTQIA storytelling. What do you hope LGBTQIA audiences at BFI Flare take away after watching your series?
Elisha: As David mentioned, it’s always interesting to see how different audiences react to a story that feels so rooted in a particular context, that to me feels intrinsically German, shaped by the social and cultural dynamics of this place. I hope they find a connection to it. At the same time the series doesn’t offer easy moral judgments; instead, it embraces contradictions, mistakes, and tenderness. I want viewers to sit with the complexity of the characters and form their own allegiances.
David: I agree – I hope the show’s tenderness feels refreshing and healing, and that the characters’ messy self-empowerment and growth feel as uncomfortably liberating to audiences as they do to me.
Why do you think LGBTQIA filmmaking is so important in 2025?
David: Queer films materialize other paths. They pool constantly contested realities and knowledge and make new ways of living thinkable. They’re a means of communication and connection in a world that can be very isolating, at times.
Elisha: LGBTQIA filmmaking isn’t just about being seen; it’s about being felt. It’s about creating something that lingers. It offers a mirror that reflects our lives back to us, not just in adversity but in joy and in the spaces we create for ourselves to thrive.
This year’s Flare is split into the themes of Hearts, Bodies, and Minds. Do you have an LGBTQIA film which affected your heart, body, or mind?
Elisha: The Watermelon Woman affected both my heart and mind. Seeing Cheryl Dunye take up space on-screen and behind the camera felt deeply affirming. It expanded my understanding of what’s possible and affirmed the kind of stories I want to create.
David: Recently, You Won’t Be Alone by Goran Stolevski struck me. It follows a shape-shifting witch, slipping in and out of bodies across a range of genders, ages, and species. I think it’s a fantastic example of transcendent queer storytelling, and of queerness as skill.
What was the best piece of advice you received while working on this series, and what advice would you give to emerging queer filmmakers?
David: I got great advice from our collaborators, and production company Jünglinge Film – but the first thing that comes to mind is from Judith Weston’s Directing Actors. She advises that you should give actors permission to fail. I would say: extend that permission to yourself. There’s pressure to get things right, but it can also be a risk to play it safe.
Elisha: Watching my collaborators – especially Lamin, the show’s creator – I learned that holding onto your vision doesn’t mean refusing compromise; it means knowing what’s non-negotiable. Filmmaking requires flexibility, but if you don’t ask for what you need, you won’t get it. No one will fight for your vision the way you will.
What’s the one question you wish more people would ask about your series?
David: I’m interested in talking more about the pacing! There’s a lot of dialogue in the show, so we were in an ongoing filmic negotiation of when to embrace that, when to create breaks, and when to build on top of it, so to speak, by prioritizing another element in the scene to connect with the viewer.
Elisha: Yes, that’s a fun one! This was such a joy to direct because the pacing felt like its own language. We were always playing with rhythm, knowing when to lean into the dialogue and when to let silence or the actors’ physicality do the work. Finding that balance was one of the most exciting parts of the process.
BLACK FRUIT / SCHWARZE FRÜCHTE screens as part of the 39th BFI Flare: London LGBTQIA+ Film Festival on Sunday 23 March and Friday 28 March. For more details / tickets here
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