Institute of Art Design + Technology
Dún Laoghaire

Aisha Bolaji 

BA [Hons] Film + Television Production

Aisha is a director, screenwriter, producer and film curator who creates fun and fantastical work exploring her dual identity. She was part of WEFT Studio and wrote for the Writers Guild's 'Writers Room'. Her screenplay 'Why the Sun and Moon Live in the Sky' was shortlisted in the Virgin Media Discovers Short Film Competition 2022 and received a Special Jury Mention at the Catalyst International Film Festival 2023, earning her a Writers Guild membership. Aisha is also involved in various Irish film festivals (DIFF, Catalyst etc.) and advocates for representation in media as the co-founder and creative director of The GALPAL Collective.

Main Craft Graduate Project - The End of the World Tour - Director & Co-Writer

Get ready to fall head over heels for Kemi, the ultimate fangirl of the hottest boyband around - 'WHYNOT'! Her world is turned upside down when she receives devastating news - her beloved band is splitting up! Kemi's heartbroken, but she's not giving up on her dreams just yet. She's determined to meet the love of her life, the band's frontman COLE, one last time. Kemi's God-loving mother, Esther, may not understand her daughter's obsession, but that won't stop Kemi from pursuing her passion. Along the way, both mother and daughter discover that their idols aren't quite what they seem. As they clash over their pursuits, they come face to face with the harsh reality of their idols.

Thesis - Touki Bouki's Legacy: Magical Realism and Afrofuturism in Black & African Cinema

This thesis examines the impact of the Senegalese film ‘Touki Bouki’ on the development of magical realism and Afrofuturism in Black and African cinema. The first chapter establishes the theoretical framework of magical realism and its relevance in African literature and film, exploring how it intersects with African cultural values and beliefs. The second chapter provides historical and cultural context, detailing the film’s connections to the Negritude movement and post-independence Senegal, particularly its portrayal of youth culture. The third chapter analyses how the film uses magical realism to critique and subvert dominant cultural narratives and power structures, examining specific scenes and directorial choices. The fourth chapter explores the legacy of ‘Touki Bouki’ in contemporary Afrofuturist films and argues that it serves as a catalyst for the development of magical realism and Afrofuturism in Black and African cinema. This thesis highlights ‘Touki Bouki’ as not only a groundbreaking film but also a critical piece of cultural and artistic history that has paved the way for new and innovative storytelling in Black and African cinema.