**Key Points Summary:**
– The second edition of INBETWEENS – Queer Animation Screening is set to occur at Cardiff Chapter, in collaboration with Cardiff Animation Festival.
– The event will feature a film based on the poem by Dean Atta, titled ‘Two Black Boys in Paradise’.
– An interview was conducted with the key people behind the film: poet Dean Atta, and animators Baz Sells and Ben Jackson.
**Closing Hot Take:**
And That’s a Wrap (This Ain’t Paradise – It’s Better!)
Animation’s Queer Frontier: Glam, Glitter, and Two Black Boys in Paradise
In the Forever Growing Animated Rainbow
Oh, how the world of animation continues to stretch its Technicolor tendrils into new territories! This time, it’s decided to have a fabulous strut down Queer Street. The second edition of INBETWEENS – Queer Animation Screening is ready to bedazzle at the Cardiff Chapter, with the Cardiff Animation Festival as its wingman.
The pièce de résistance? A film spun from the poetry of Dean Atta, featuring ‘Two Black Boys in Paradise’. Apparently, it’s so eye-catchingly good, they just had to nab Atta, along with animators Sells and Jackson, for a little chinwag. Can’t say I blame them, who wouldn’t want a behind-the-scenes scoop?
But remember folks, as we applaud this diversity stride, let’s not forget to pack our essentials: popcorn, positivity, and a fabulous pride flag! And for the folks who prefer their animations a little more… traditional, remember – there’s no frigate like a book, but boy, what a ride a good animation can offer!
As we look forward to the upcoming showing of the second edition of INBETWEENS – Queer Animation Showcase at Cardiff Chapter, in connection with Cardiff Animation Festival, we delve into the highlights of one of the films set to screen on August 23rd.
Inspired by the heartfelt poem by Dean Atta, Two Black Boys in Paradise (2025) is a delicately crafted stop-motion short film narrated by Jordan Stephens. The film follows two young men, Edan (19) and Dula (18), as they discover their queer love and identities. In this powerful narrative, paradise isn’t just a specific location; it’s a state of existence that can be both fragile and affected by emotions such as fear, shame, and societal expectations.
Skwigly had the privilege to spend some time with creators Dean Atta, Baz Sells, and Ben Jackson, chatting about the film ahead of its INBETWEENS screening.
As we get into deeper discussion about your film Two Black Boys in Paradise (2025), kindly introduce yourselves and describe your roles and creative endeavors undertaken in the film production.
Dean Atta: I wear many hats as a poet and author. ‘TBBIP’ is adapted from my original poem. I’ve been crafting poetry for more than 20 years, and recently ventured into writing young adult novels. My most recognized work is The Black Flamingo. I often discuss black and queer issues in my works as a reflection of my own life as a black, gay man. It is heartwarming to see my words journey across the globe via this film – it’s like a dream come true.
Ben Jackson: I function as a producer on TBBIP and cofounder of One6th, a production company I sprung up with Baz in 2018. I had wrestled with my sexuality for a while and finally came out when I was 30. I remember attending a poetry reading in Berlin where Dean read ‘TBBIP’, and the poem left an undeniable mark on me.
Baz Sells: I directed TBBIP. I collaborated with Ben and Dean on the film’s script. I’ve also worked as co-DOP on the film. Ben and I first dipped our toes into stop motion together at the Northern Film School. Since then, our films have reflected our interest in socio-political subjects. Ben’s coming out was a significant milestone in our friendship as I’d always wrongly assumed he was straight. Producing this film was not only deeply personal for us, but it also strengthened our bond.
Two Black Boys in Paradise (One6th)
The poem Two Black Boys in Paradise as part of the 2022 poetry collection, There is (still) love here has a visually compelling book cover. The cover visually resonates with a specific scene from the film where the boys float together underwater. Can you share the inspirations behind the poem and how they found their way into the film?
DA: I penned the poem a few years prior to 2022, and we were already in the process of making the film by the time the book got published. The book incorporates some of the conceptual art created by Sanna Räsänen for the film. I initially wrote the poem as part of a project with the Courtauld Gallery, wherein poets were asked to find inspiration in different artworks. I chose the portrait of Adam and Eve in the Garden of Eden and envisioned to reinterpret Eden for black and queer people. The poem encapsulates self-love and acceptance as crucial to loving others.
As some time has passed since you began working on TBBIP, could you give us a brief retrospective into the initial stages of its creation?
BJ: Our journey with TBBIP began in the summer of 2020. From ideation to moodboarding, it was a year-long process before we finally approached BFI for funding. We found out we had secured the funding by the end of 2021, after which it took us half a year of administrative paperwork before launching into the preproduction phase.
BS: Reflecting back, it’s been quite the journey. The initial writing process, sparked by Ben introducing me to Dean’s poem, was a remarkable creative experience. The strength and boldness of Dean’s work challenged and intrigued me.
DA: The line “There is no police in paradise” resonated with many people by depicting paradise as a place free of false criminal accusations. For the boys in the poem, their paradise is a moment of uninterrupted togetherness, where they can be authentically themselves.
BS: In 2020, during the progression of the Black Lives Matter Movement, there was a lot of discourse on these topics, and I appreciated Dean’s willingness to embrace the conversation.
DA: The Black Lives Matter movement is still strong, and our film is a form of artistic expression that reinforces that message.
BJ: One of the defining moments of the film is Dula walking away from the policeman with pride. It was crucial for this film to embody celebration, joy, and a sense of belonging.
Camera & Lighting Assistant Ann Li Ho & Co-DOP Kevin Paul Lawrence working on TBBIP paradise set (One6th)
The apple serves as a symbolic bridge between the film’s two contrasting worlds. What inspired you to use the apple as a symbolic element for transitioning between these worlds?
DA: The apple in the poem was originally a symbol of temptation from the Garden of Eden. In the film, the boys reach for the same apple, leading to their being dragged out of paradise and being wrongfully accused of theft. The apple serves as a metaphor for the interference of homophobia and racism in their lives.
BTS of the TBBIP Market Set (One6th)
The sharp visual distinction between the market and paradise realms is handled masterfully. Could you provide some insight into the concepts behind the film’s aesthetics?
BS: We made an effort to create visual ties between both realms through recurring shapes, colors, and designs. We aimed to depict imperfect forms to show that there is beauty in everything.
Could you share with us some details about the process of creating the puppets used in the film?
BJ: It began with concept art,
Original article: https://www.skwigly.co.uk/two-black-boys-in-paradise-interview/