Jess Kohl: Amplifying unheard voices

Can you tell us about your own favourite projects, personal and commercial?

Of my own projects, the work that I’m most proud of is my short documentaries. The latest (and longest) one, A Mouthful of Petrol (2022), an observational documentary that follows 13-year-old Jaydee in the lead-up to his first full contact banger race, and Nirvana (2018), which follows Aaliyah and Chintu, two trans women living in Southern India, as they prepare to enter the beauty contest ‘Miss Koovagam.’ 

I’m always excited to work on projects around social issues that allow me to do more than just help sell a product. 

For commercial projects, the film we made with boxer Ryan Garcia for Gymshark was a highlight. I love boxing and had a lot of freedom to execute this how I wanted. Also From the Grounds Up for Nike, which focused on Hackney Wick FC, a grass-roots football club set up by ex-prisoner Bobby Kasanga. I’m always excited to work on projects around social issues that allow me to do more than just help sell a product. 

Often big brands want to have a stake in queer culture, but there’s a tendency not to put much budget towards pride campaigns.

I’ve also shot various Pride campaigns - we made a series of films for Unilever, portraits of diverse queers around the UK, and had a lot of creative freedom with casting and shooting, which was fun. 

Often big brands want to have a stake in queer culture, but there’s a tendency not to put much budget towards pride campaigns, which to me, defeats the purpose of supporting the community. Hopefully, this is something that can change.

Are there any filmmakers who’ve particularly inspired your work?

So many! Thematically, someone who comes to mind is Kim Longinotto - her work often highlights oppressed individuals and communities. My favourite film of hers is Shinjuku Boys (1995), following a group of trans men who work as hosts for female clients at a bar in Tokyo. 

I have a desire to use my platform and voice to amplify narratives and voices that aren’t usually given space.

Stylistically, I love Gianfranco Rossi’s Fire At Sea (2016), which feels like a truly cinematic use of the documentary form. He shoots everything himself, which is impressive, and there’s a precision and consideration to his cinematography that feels elevated.  

Roberto Minervini is another, he seamlessly blends fiction/non-fiction and also amplifies marginalised voices in his work.

What is it about working with minority and marginalised communities that inspires you?

As a queer filmmaker who has experienced marginalisation, I have a desire to use my platform and voice to amplify narratives and voices that aren’t usually given space. The themes I explore are personal to me, which feels rewarding. 

It’s hard to express how important this is, for queer people to see themselves authentically represented so they feel less alone. 

How do your personal and commercial projects inform each other? 

It’s important to me that I’m, first and foremost, a filmmaker working on my own self-initiated projects. I’m lucky that a lot of the commercial work I do stems from that. Agencies and clients are drawn to my work not only for the style but also subject matter. In this way, there’s a natural integration between my documentary and commercial work, they feed into one another.

Brands often want to work with marginalised directors because of our cultural capital, which is precious. 

Have you noticed a shift in how queer narratives are represented in advertising? 

I think we are increasingly seeing queer narratives included in mainstream commercials. As someone who grew up without any real representation of queerness in the media, it’s hard to express how important this is, for queer people to see themselves authentically represented so they feel less alone. 

How do you ensure that the brands you’re working with truly align with your values? 

It’s important that when engaging with big brands on Pride campaigns to know that they are doing it for the right reasons. Brands often want to work with marginalised directors because of our cultural capital, which is precious. 

It’s important that when engaging with big brands on Pride campaigns to know that they are doing it for the right reasons.

If the creative and budget are good, then I’m always happy to engage. But if one or both of these are lacking, then I have to question what the purpose is for engaging and why I wouldn’t just spend the energy on my own work.