Diving Deep with Muhyi Ali’s Always in Bloom: Amara
“I think that’s what all people want, it’s an innate feeling and yearning. To feel heard, seen, valued, and honored with their story. With this film that’s exactly what I want to do for every individual that sees it.”
For anyone seeking unflinching authentic stories, Muhyi Ali is the one to watch. Most known for her award-winning film Undefined: A Muslim-American Musical, Ali brings a refreshing perspective on the overlooked stories of those in POC spaces. She has taken the time today to tell us more about herself and her upcoming project Always in Bloom: Amara.
Tell us about yourself.
Hi, my name is Muhyi Ali. I am a creative, a filmmaker, showtune enthusiast, and the owner of AfroTwin Productions.
What is AfroTwin Productions?
AfroTwin Productions is a media company we started in 2017. Originally we were focused on diversifying media. We wanted to see more people that looked like us in popular media.
Our mission has since evolved into sharing authentic stories of the people that make up the community. About what we see and want to reflect in the community to make people feel more heard. Authentic storytelling is what AfroTwin productions is.
Are you working on any stories right now that need to be heard?
Yes! Yes, this is my baby, my project.
I am the writer, director, and producer of Always in Bloom: Amara which is going to be my first feature length film.
It’s a musical about three sisters and we’re talking about the Black maternal mortality rate. This is a very passionate story about feminine identity, coming into your own, and how this mortality rate affects a family. How people are just told to grow and move on and what that looks like in the Black community.
Can you tell us more about what this film is about?
This film is about identity, culture, generational trauma, what it means to have tradition and what it looks like.
While we’re following these three sisters on their individual feminine journeys, we see all these paralleled obstacles and the similarities between them. I’m talking about the silencing and the prejudice that exists.
It’s broken down into three parts that follow the three trimesters of the oldest sister’s pregnancy. We’re looking from the perspective of Amara, who is giving birth for the first time. This is the first baby since the passing of their mother, who died giving birth to the youngest sister. She’s dealing with the trauma of being the oldest while having your mother pass. She has to mother her two sisters, and the youngest sisters aren’t really with all that.
The youngest one is getting her period the first time, which comes with a whole energy in itself.
The middle sister is discovering her sexuality and coming to terms with her artistry as well, and what that fluidity might look like. She’s breaking up with her boyfriend of five years and coming to terms and honoring the fact that she might have a queer identity. She learns to express that throughout the film.
They’re living with their grandmother who has her whole idea of what things should look like and had to watch not only her daughter but also her daughter’s husband pass away.
It’s this whole idea of generational trauma, and generational curses but also the dedication to moving forward. It’s a tough story but it’s a very real story. I don’t think it’s one that we see as often.
You talk about the parallels between the sisters' stories. Can you speak a little more about that?
Absolutely! We have the school setting where we have our youngest sister Amani, and the hospital setting. School itself is an institution, it’s a microcosm for the real world. The medical industry is an institution as well. We’re seeing the parallels in those worlds and introducing this idea of what tradition is, what culture is, what silencing looks like.
It comes back to “Oh you are a Black femme. You are a Black woman. You’re a femme identifying being and because of this, you’re going to be treated a certain type of way or looked at in a certain type of way so that your output is what people expect.”
Earlier you mentioned that this was going to be a musical production. What kind of music can we expect with AIB: Amara?
Definitely diverse sounds, simply because the characters are so fun. Obviously I want to have a jazz influence because that’s the root of all African American music in this country. We’re also sharing the vibes of RnB, neo soul, things across the African diaspora as these different characters come in. We have sounds of the world but it’s really sticking to an African diasporic vibe.
What inspired this story?
This story has always been on my heart, because it is my family’s story for the most part. I’m inspired by my family and they are why I do AfroTwin productions. I write about my community and give them a chance to be seen.
When I was younger, the first pregnancy in my family was my older sister. It was such a big deal that she was going to have a baby and I was going to be an auntie for the first time. She was pregnant, and we were all happy and partying and then I hear word about how the baby’s coming and how my sister has a fifty-fifty chance of survival.
And I was like ”Wait, wait, what? This is- what?” You know, pregnancy is something that “women” and our female bodies are all going to experience or we’re told this is what we’re leading up to. I hadn’t realized how dangerous it was and how quick things can change. It was really scary.
I did end up losing my first nephew, may Allah have compassion on his soul, Ijaaz. My sister survived, but she was obviously changed as she lost her first baby. You know, her energy shifted, and how I looked at her shifted. What do we talk about? What’s the conversation now? Like, your life was almost lost, and now you have to go back to work tomorrow?
It was weird, and it [the lack of discussion] never sat right with me. As I went on through life, I ended up losing another one of my niblings. It was too frequent, too common you know?
This is an epidemic. I heard different people’s pregnancy stories about them losing their babies and about them being sick. This can happen to you. Black women are three to five times more likely to die during childbirth than white or hispanic women. Black women are suffering in this way and no one’s really saying anything or acknowledging that. No one wants to talk about miscarriage, it’s taboo. Let’s talk about this so that it’s not private, let’s address all that so that it can end.
I have a duty to tell these stories. I’m very grateful to have been able to go to school and get my education and fall in love with this art form and this way of expression, but I do feel a duty to help tell our stories. So that more people can acknowledge these happenings, so that we’re able to progress.
When this feature comes out, what kind of impact are you hoping to leave?
On myself, I definitely, like a lot of people right now, am trying to heal my inner child. You know, like forgiveness for times of my misunderstanding or my lack of expression. Even my confusion for certain situations that were happening in my family, which will be depicted in the film.
I want my family and my community to feel heard and seen. I think that’s what all people want, it’s an innate feeling and yearning. To feel heard, seen, valued, and honored with their story. With this film that’s exactly what I want to do for every individual that sees it. And to bring more value to Black women and their stories.
I really do believe that the world does move and is shaped, and Black women are on the frontlines to make sure these changes are happening. I’m grateful to be within that community and I’m hoping this film pays an honor to that.
People of color tend to get left behind in authentic representation because they’re constantly in survival mode. They’re out here just trying to get to the next space and protect themselves, as they are constantly oppressed. We're on the defense. This is a chance to reflect, and see where we actually are.
And on a worldly level, no matter who you are watching this film, I invite you to take action because once you know you can’t not know. You have a duty once you know, and I really believe that this film will bring these issues into the know.
What’s the best way to support this project?
Right now, the best way to make this happen is through pledging on Seed & Spark, following the AfroTwin Production’s Instagram account, and also continuing to learn and giving yourself grace.
I don’t want to be cliche, but it’s real. Being constantly on “go” can be tiresome. A lot of my characters, they deal with an identity crisis because of this constant need to react. But allow yourself grace and support the world with your identity as a global citizen.
If you like what I’m saying and you want to hear more, or even have something to say, I invite everyone to follow on Alway in Bloom’s Instagram. Check out our Patreon, join the community because this conversation deserves to be had with everyone. Tell us your story, release it, share, express, forgive yourself, grow and let’s keep going. Progress.
This interview has been edited for clarity.
More on the Film:
Always In Bloom: Amara follows three sisters who on their individual feminine journeys meet paralleled obstacles stemming from prejudice, silencing, and tradition. It is only through the support of those closest to them are they able to defend themselves against a restricting society This story follows Amara, a newly pregnant Black woman, whose claims are being regularly dismissed by her doctor. It’s up to her family to take matters into their own hands, to avoid repeating the tragedy that occurred with her mother 12 years prior.
More on the Director:
Teaneck, New Jersey native Amatullah'Muhyi - who goes by Muhyi - is a filmmaker, actress, and show tune enthusiast. Muhyi received her BFA in filmmaking in 2017. After graduation Muhyi traveled with her award-winning film Undefined: A Muslim-American Musical, currently available on Amazon Prime, and co-founded AfroTwin Productions. With AfroTwin Productions, Muhyi has been able to travel all over the world and connect with filmmakers and creators of varying backgrounds. Aside from working and producing content for people across the African diaspora she is also achieving her Masters in Fine Arts from the illustrious Howard University.
With AfroTwin Productions, Muhyi has been able to provide content that reflects the varying communities that she belongs to including Bodegas, Spots, & Restaurants (now titled “SPOTS”), a travel food series where a host goes to restaurants owned by people of the BIPOC communities, in order to showcase them directly to the people they serve. As well as Always in Bloom, an anthology series, podcast, and resource, covering women’s health and general information. Muhyi is dedicated to sharing stories, connecting creatives, and maintaining a sense of familiarity through media.
