After losing a loved one, Ruby Oliver enters a broken VR game for a last chance to see the dead – little does she know that this game treats all girls as a virus as she fights to get out.

Interview with Writer/Director/Producer/Actor Sigin Ojulu

Watch Code_Switch here:

Congratulations! Why did you make your film?

My observations and research in Mixed Reality Technologies (AI/AR/MXR/Big Data) see AI advancing at an exponential rate. Technological innovation has helped us to ameliorate, but I also believe that technology itself has and will become a manifestation of issues that persist in our human world. In order to change our world for the better, we need to first look into our humanity first, before we look into pixels to solve such problems.

The story of Code_Switch is a slice of commentary on how our human flaws have already made themselves evident in the creation of technology. It was a necessity to centralize black lives and women, as these are the most marginalized identities in the tech space.

Also, I'm obsessed with Black Mirror and Black Panther and want to write and direct for them one day - this was the perfect opportunity to show the vision of Code_Switch is viable and fits into these worlds.

Imagine I’m a member of the audience. Why should I watch this film?

I think if you plan on being on earth for the remainder of your life, you should care about data and technological advancement as it will effect virtually every aspect of our lives moving forward.

Code_Switch is meant to provide a speculative scenario based off true events that have already occurred. I think particularly for marginalized groups, it should stir up conversation as to where we fit into the hyper digitized world.

How do personal and universal themes work in your film?

It's a balance. Because our film is so stylized, the themes end up all tied into the world-building of a space that most people are not very familiar with. For me, any good story is always about the characters and not the themes - I think the themes come out through what the character is dealing with. And then it's up to the audience to extrapolate larger themes that they might see in their own lives.

How have the script and film evolved over the course of their development?

The overall story structure for the script stayed the same - it was just about refining the story and finding a balance in not being too "techy" and making it entertaining and logical. Not everyone is as deeply involved in the tech world as much as myself and team, so fine tuning the world building and logic of the story was the largest development process.

I'm a firm believer in the idea that a film is made three times: in the writing, production and post production. So you can only do so much to retain an original vision before production and post strike!

What type of feedback have you received so far?

The reception has been overwhelmingly positive. The tech space is niche and technological innovation as it relates to black people and other marginalized voices further.

Has the feedback surprised or challenged your point of view?

If anything, it's reaffirmed my vision for the content I want to make - the feedback has ben wonderful because it's like being handed a box of tools in order to refine your vision.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I want people to watch the film, engage with the content, get mad, cry, giggle a bit, talk about it and leave the experience with questions and wanting more. I think exposure is the first step in engaging audience participation, so my team and I are thrilled to be on this platform.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

We are primarily looking for distribution and to get the film out to as many eyes as possible. The short also acts as a proof of concept, so we are certainly at the stage of developing a feature or tv - movie so are looking for producers and collaborators to finance the long format.

We are also interested in working with universities, think tanks or any organization who is interested in VR/AR/AI and immersive technology as it pertains to storytelling and beyond whether that be keynotes, panel talks, classroom visits or informationals.

Please don't hesitate to reach out!

What type of impact and/or reception would you like this film to have?

We have to talk about the rate of technological innovation and how it will impact people of color, women and minorities who ultimately have little stake in their own futures. The scenario presented in the short should be a catalyst to open up the conversation regarding issues of race, gender and economic inequality in film & tech.

What’s a key question that will help spark a debate or begin a conversation about this film?

How will the fourth revolution (technological advancement) effect people of color, the global south and the disenfranchised.

Would you like to add anything else?

We hope you enjoy the film !

What other projects are the key creatives developing or working on now?

I have three traditional (2D) feature projects I am developing all in the vein of Africa, Sci Fi and and social commentary.

I am also developing a VR installation film experience (think Alejandro Iñárritu's "Carne y Arena") connecting U.S. history to present day concerns.

These projects are fully developed and we are currently looking for financiers to move forward in creating them.

Interview: February 2020

We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela

Code_Switch

After losing a loved one, Ruby Oliver enters a broken VR game for a last chance to see the dead – little does she know that this game treats all girls as a virus as she fights to get out.

Length: 16:10

Director: Sigin Ojulu

Producer: Sigin Ojulu, Rom Lotan & Irina Slepneva

Writer: Sigin Ojulu

About the writer, director and producer:

SIGIN OJULU is a writer, director and actress. Ojulu is South Sudanese refugee and former Citizen Ambassador to the United Nations. She has lived on 3 different continents, speaks three languages fluently and is based in Los Angeles, CA after graduating from USC's prestigious Graduate School of Cinematic Arts.

ROM LOTAN is an Israeli writer and producer with a background in software, intelligence and diplomacy. He is a current student of USC's prestigious Peter Stark Producing program and has various projects in development.

IRINA SLEPNEVA is a Russian producer with a strong background in media, communications and film and television production. She is a current student of USC's prestigious Peter Stark Producing program and has various projects in development.

Key cast: Jimmy Jean-Louis, Kira Jane Pinkney, Decory, Sebrina Purcell, Cozy DesRoches

Looking for: distributors, journalists, producers, buyers, sales agents

Facebook: Code Switch 2020

Instagram: @code_switch_film

Hashtags used: #codeswitch2020 #codeswitchfilm

Website: www.directorsiginojulu.com

Other: IMDb

Where can I watch it next and in the coming month? Code Switch film has just begun its festival run. We will be screening at various festivals throughout the U.S. and abroad. Please follow our social media sites for details on our showings.