Imagine a world where Instagram livestreams leap off your phone and onto the big screen, captivating audiences in ways you’d never expect. That’s exactly what happened at the 69th BFI London Film Festival (LFF), thanks to actor-director Bradley Banton’s groundbreaking feature film, More Life. This isn’t your typical movie experience—it’s a bold exploration of the hyper-performative world of social media, framed through the lens of livestreaming. But here’s where it gets controversial: can a medium as intimate and immediate as a livestream truly translate to the grandeur of cinema? More Life dares to answer that question, and the results are nothing short of fascinating.
Backed by Michael Fassbender’s DMC Film, the movie stars Tuwaine Barrett (Hard Truths), Dipo Ola, and Jordan Peters. The LFF website praises it as “an impressive, fresh, and beautifully observed debut,” and for good reason. Banton’s inspiration? None other than Nicki Minaj’s electrifying livestreams. “I was watching one of her streams, and I thought, ‘This is so entertaining—there’s a story here waiting to be told,’” Banton recalled in an interview with The Hollywood Reporter (THR). And from there, More Life was born.
Originally set in London, the film took an unexpected turn when Banton realized, “You can livestream anywhere.” Enter Copenhagen, his favorite city, which became the vibrant backdrop for the story. But the real challenge? Deciding whether to film it in one continuous take. “We thought about it, but with only four hours to shoot, it felt a bit too ambitious,” Banton admitted. “So, we opted for glitches to splice together different takes, giving it a unique, authentic feel.”
And this is the part most people miss: the film’s vertical format, a nod to the mobile phone as the primary livestreaming device. Banton wonders if younger audiences will eventually watch it on their phones, blurring the lines between cinema and social media even further. At the premiere, the audience’s reaction was telling. Tuwaine Barrett shared a striking observation: “There was a young guy in front of us who was completely engrossed. He didn’t touch his phone once. He saw something on screen that he deeply related to—probably because it mirrored his own Instagram habits.”
So, will Banton and Barrett tackle another livestreaming feature? Banton’s game, especially “if it means traveling to another country.” Barrett jokes, “We’ll need a budget, though. Just give us the money!” But the bigger question remains: Can livestreaming redefine storytelling in cinema, or is it a passing fad? Let us know what you think in the comments—this is one debate that’s just getting started.
