DN last spoke with Director Tomas Kamphuis earlier this year for his ambitious fashion short EXILES, a large-scale science fiction inspired visual piece that cleverly melded corporate branding with cinematic aesthetics. His latest short Art Chooses Us is a film that couldn’t be more different from EXILES but remains just as fascinating, which is down to Kamphuis’ broad talents as a filmmaker. Art Chooses Us is a documentary about four African artists, of different disciplines, who contemplate what it means to be an artist in Africa today and how Africanness is connected to their art. It’s a rich, thought-provoking film which tells the story of a country’s identity through its artists. Kamphuis joins us once again below for a conversation about the making of his short, the organic, almost improvised approach to shooting, and how it sits in polar opposite with EXILES in both narrative and form.
What was the genesis of Art Chooses Us?
The film actually started with an invitation from a curator, who was part of the Biennial in São Tomé and Príncipe, a place I hadn’t even heard of before. She asked if I’d like to make a film for this event and told me about this incredible sunrise performance: 54 models, each representing an African country, walking along the shoreline. That image alone hooked me. Plus, the festival aimed to show a different side of Africa, challenging the usual stereotypes, so it felt like an amazing chance to dive into a project that’s all about shifting perspectives and breaking out of those one-dimensional portrayals of Africa.
What drew you to centre the topic of Africanness through the perspective of artists?
Honestly, I’ve always been drawn to people who take the path less traveled, and that’s a common theme in my work. Artists, especially these four, are right in that space, pushing boundaries, challenging the usual narratives, and bringing forward issues that don’t always get the spotlight, like LGBTQ rights, feminism, and the pressures to fit into a single ‘African’ identity. As an artist myself, I felt a deep pull toward capturing these stories, because they’re living proof of what it means to be yourself, even when it’s tough. They brought a kind of raw, honest energy that felt perfect for exploring the complex, layered realities of Africanness.
Each artist represented different aspects of African identity, creating a balanced portrayal across various art forms and perspectives.
How did you come to meet the four artists featured in the film?
The Biennial included around 30 to 40 artists, but I was drawn to those whose work had the most visual and narrative impact, particularly those addressing issues on the African continent. The selection happened organically, focusing on artists whose stories aligned with the festival’s goal of challenging narratives. Each artist represented different aspects of African identity, creating a balanced portrayal across various art forms and perspectives.
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How was Art Chooses Us different from EXILES as a project and do you find working across different filmmaking forms challenging or inspiring?
Art Chooses Us and Exiles are pretty much worlds apart in how they were made. Exiles is a sci-fi fashion film, so everything was super planned out, story, visuals, costumes, right from the start. We knew exactly what we were going for and that detailed prep was key to making it work as a cohesive, fictional world.
As an artist myself, I felt a deep pull toward capturing these stories, because they’re living proof of what it means to be yourself, even when it’s tough.
With Art Chooses Us, though, it was a totally different vibe. We went to São Tomé without a clear idea of what we’d end up with. Instead, we just let ourselves wander around the island and capture whatever moments felt right. It was all about following our instincts and letting the place itself guide us. So in the end, the story and concept of Art Chooses Us really came together during editing. That documentary approach, especially one as loose as this, can feel a bit unpredictable, but in the end it’s very rewarding when it actually does come together.
How much of what you shot was planned and how much was on the fly? What was your approach to shooting these artists?
Honestly, most of it was on the fly! We got there a couple of weeks before the festival, and with the language barrier, no Portuguese, we just had to roll with things. We’d be out filming early in the mornings, just letting the environment and the unexpected moments guide us. There were plenty of shots we took without much direction that ended up being perfect in the edit. The whole thing has this organic, almost improvised vibe, and that’s what makes it feel so real.
How long were you in the process of making Art Chooses Us? How much footage did you capture versus what ended up in the film?
It took a few months from start to finish, from brainstorming the concept to those last touches in editing. We shot tons of footage, just captured whatever felt interesting in all sorts of places, even when we weren’t sure it’d make it in. This gave us a lot to play with in post, which was where the real magic happened. Only a small chunk of what we filmed actually made it to the final cut, but having that extra footage let the story come together naturally.
The whole thing has this organic, almost improvised vibe, and that’s what makes it feel so real.
What has it been like showing the film to both African and Western audiences? Have you noticed a difference in the responses?
Definitely! Western audiences often seemed surprised or even challenged by it, realizing how much they didn’t know about these cultures. African and Black audiences, though, reacted with a lot of pride, it was more like a celebration for them, seeing themselves represented authentically on screen. The feedback has been amazing on both sides, but it hits differently for each.
What’s next for you?
I’m actually stepping back from pure documentary work for a bit, but I really want to keep that authentic, human feel it brings. There’s something about the rawness and honesty of a documentary that I love, and I’d like to bring that vibe into more conceptual worlds. Merging real, grounded moments with a more abstract style really clicks with me, so I’m looking forward to creating projects that balance that authentic documentary feel with more imaginative storytelling.
