Imagine a world where Instagram livestreams leap off your phone and onto the big screen, captivating audiences in a way that feels both familiar and utterly groundbreaking. That’s exactly what actor-director Bradley Banton achieved with his feature film More Life, which made waves at the 69th BFI London Film Festival (LFF). But here’s where it gets controversial: Can the raw, unfiltered energy of social media livestreaming truly translate into cinematic art? Banton’s film dares to answer that question—and the results are as bold as they are thought-provoking.
Described by the LFF as ‘an impressive, fresh, and beautifully observed debut framed within the hyper-performative world of Instagram livestreaming,’ More Life is anything but conventional. Backed by Michael Fassbender’s DMC Film, the movie stars Tuwaine Barrett (Hard Truths), Dipo Ola, and Jordan Peters, offering a glimpse into a world where the line between digital and cinematic storytelling blurs. Curious? Check out a clip from the film here to see what all the buzz is about.
In an exclusive interview with The Hollywood Reporter (THR), Banton revealed the unlikely muse behind his project: none other than Nicki Minaj. ‘I was watching a Nicki Minaj livestream,’ he recalled, ‘and I thought, ‘This is so entertaining. There’s something here that needs to be explored.’ And that’s how More Life was born.’ And this is the part most people miss: Banton originally planned to set the film in London but pivoted to Copenhagen, his favorite city, realizing that livestreaming knows no geographical bounds. ‘You can live stream anywhere,’ he explained, ‘so why not make it personal?’
The production process was equally unconventional. Initially envisioned as a single, continuous take, Banton quickly realized the logistical nightmare of pulling off such a feat in just four hours. ‘I’ve seen films like Boiling Point and Victoria,’ he admitted, ‘but that felt a bit too ambitious. Instead, we introduced glitches to splice together different takes, giving it a raw, authentic feel.’
The film’s vertical format, a nod to the mobile phone as the primary livestreaming device, raises another intriguing question: Will younger audiences, accustomed to watching content on their phones, embrace More Life on the big screen? Banton isn’t sure, but he’s fascinated by the possibility. ‘We knew it was always going to be vertical,’ he said, ‘but I’m curious to see how it resonates with viewers down the line.’
At the film’s premiere, one audience member’s reaction stood out. ‘There was a young guy in front of us,’ Barrett recalled, ‘and he was completely engrossed. He didn’t touch his phone once. I think he saw something on screen that he deeply related to.’ Here’s the bold interpretation: Could More Life be a mirror to the digital generation, reflecting their experiences back to them in a way that traditional cinema never has?
As for the future, Banton is open to another livestreaming project—‘if we have an excuse to go to another country,’ he joked. Barrett, meanwhile, has one condition: ‘We’ll need a budget. Just give us the money!’
So, here’s the question for you: Can livestreaming be elevated to an art form worthy of the big screen? Or is More Life a one-off experiment that pushes the boundaries too far? Let us know your thoughts in the comments—this is one debate that’s just getting started.
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