Director, writer and all-around creative Cecile Emeke is making waves in the UK film-making community with her globally popular short film-turned-web series Ackee and Saltfish and the online documentary series Strolling . The Ackee and Saltfish project offers commentary on social issues such as cultural appropriation, religion and race and is managed in such a very urban and witty way that is acutely relatable by those young and black and living in Britain. The success of Ackee and Saltfish as a short film led to it being turned into a web series that is now being broadcast on BBC Three .

Emeke continues to tackle topics of importance to her with the web series Strolling. In the series, she documents the global black diaspora, from children of African immigrants in Paris and Rome, to African-Americans in the United States, to natives of Kingston, Jamaica. Guests during these strolls discuss immigration, race, nationality, class and everything involved in the black experience. SO learns more.

Style Observer (SO): With a short film/series called Ackee & Saltfish, one would assume you have some Jamaican ties. How deep are your Jamaican roots?

Cecile Emeke (CE): My family is Jamaican so that’s where my connection lies.

SO: Is that why you decided to include Jamaica in your Strolling series?

CE: I always wanted Strolling to be a global conversation and, given my connection to Jamaica, I definitely wanted to include it if the opportunity presented itself.

SO: When did you start writing and directing?

CE: I started writing and directing films and series in 2014. Ackee & Saltfish and Strolling are actually two of my first-ever films.

SO: Why the name Ackee and Saltfish for your short film/web series?

CE: The desire for ackee and saltfish drives the narrative in the short film. After Rachel (played by Vanessa Babirye) forgets to soak the saltfish overnight, the two friends head to east London in search of some ackee and saltfish, which leads to a series of events and conversations, hence the title.

“As for the actual story line, there were definitely a couple of specific experiences that really inspired me to write this film. The last straw was when my partner and I stumbled across an all-white, English-staffed Caribbean restaurant serving culturally appropriated versions of traditional dishes that were more expensive than the real things. To add insult to injury, Bob Marley’s face was plastered all over the walls, and the bar was designed to mimic a hut on a sandy beach. Of course, we ended up leaving,” Emeke told The

New York Times.

SO: Social commentary is the basis of your films and series. Are these topics things that you think are necessary for you to talk about?

CE: I think social commentary is inextricably woven into anything an artist creates. Even saying nothing is a statement in itself. It’s important for me to always express myself in my films in an organic way.

SO: What is it like being featured in The New York Times, The Washington Post and other publicaions worldwide?

CE: It’s always great to be recognised and celebrated, so they have been great moments for me.

SO: What’s next for you in 2017?

CE: I’ve got some big plans within the independent film and art space, so I’m excited about that. I’m also hoping to be working in Jamaica more.