B. Monét's mandate to be seen

NM Productions writer and director B. Monét is a soulful storyteller whose creative identity is built on amplifying diverse voices and marginalised communities. 

Through authentic, beautifully-crafted films and branded content, she showcases under-represented communities by posing questions about identity, society, race and culture. 

Her career highlights include participation in prestigious programs like Film Independent's directing fellow residency, Tisch's OTHER Showcase, and the Queen Collective with Queen Latifah, Tribeca, and P&G. 

Her award-winning short film, Q.U.E.E.N., screened at over a dozen festivals, including Cannes Short Film Corner, and her short film Ballet After Dark streamed exclusively on Hulu. Most recently, she was selected as one of six filmmakers to recreate a classic film from the Warner Brothers Studio vault to celebrate its 100th Anniversary.

Beyond film festivals, she has collaborated with brands including Levi's, Reese Witherspoon, Janet Jackson, Rosario Dawson, Estée Lauder, Disney, and Uber, showcasing her blend of social consciousness and creative storytelling across industries. 

Above: B. Monét on set

Can you tell us about your life and career journey so far?

I'm from Maryland, originally. I have one sister, and I’m very close with my family. I was a very imaginative kid and at the age of 5 or 6 I wanted to be an architect, a basketball player and a veterinarian. Seeing folks like Brandy, Oprah, and women who looked like me in the media really anchored me in storytelling. 

Film school wasn't easy, at times it was very challenging. I think now I'm probably better for it, both as a storyteller and as a person. 

I took journalism and photography classes in high school, and was studying abroad in Italy when I decided to go down the film route - my parents thought that I had lost my mind. When I got into NYU, that was my moment of thinking 'maybe I could do this after all'. Film school wasn't easy, at times it was very challenging. I think now I'm probably better for it, both as a storyteller and as a person. 

It was very much like a boot camp for me, and the reason I keep doing what I do is because I do want to see more of our stories in the media. And by that, I mean folks of African descent. In all of their richness and all of their fullness in films and cinema. I'm very grounded and still go after things, even when it's difficult and challenging and facing different-isms that I do face. 

When people tell me about how much Black Girls has inspired them, or they've watched it a few times, or they've told every woman that they should watch it, these things help me to keep going.

What have been your favourite documentaries to direct so far?

While I was in film school I made a documentary on firefighters and EMTs, called 701 (the number of their truck). It was enjoyable to be in the truck with them, going on the different runs and seeing what it was like to be inside this world, and getting a taste of filmmaking where I wasn't interrupting. It really showed me the power of the camera. That's one of my favourite documentaries so far, and of course Ballet After Dark, getting to know all the fantastic women like Tyde-Courtney Edwards affiliated with the organisation.

I love filmmakers who are able to make you feel, and show someone's humanity in a way you’ve never thought about it before. 

What inspires you?

I'm inspired by so many different types of art, I love listening to music, especially FKA Twigs’ album, Caprisongs. I’ve listened to this album a lot. I feel very rooted in it. I love how electrifying her style is not just her music videos, but also her sound and the instrumentation. 

3D modelling has been really interesting to me lately, I'm trying to figure out that space as a filmmaker. I also love movies, man, there are so many movies I can mention! I'm a supernatural, thriller girl, I love Silence of the Lambs, Babadook, Zodiac. But then I love foreign films too, like A Separation, In The Mood For Love, and Lost in Translation. No matter what the genre, I love authentic storytelling. I love filmmakers who are able to make you feel, and show someone's humanity in a way you’ve never thought about it before. 

Proudest moments of your career so far?

One was starring in a Cadillac commercial, and being the first black woman to direct a Cadillac commercial! It was crazy to star in it, direct it and also make history - and I was like whoa...why did it take so long for a Black woman to direct a car commercial for Cadillac? But also very honoured that I could be a part of history.

 I hang out with my interviewees and gain a bit of solidarity and camaraderie so that truth, empathy, and transparency come across on screen more naturally.

Secondly, being part of Queen Latifah’s program Queen Collective with Flavor Unit Entertainment. She's everything that you dream of and more, she's just this big beautiful light and she comes into a room and just radiates, literally. I love that she gave me and the other winner, who recently did her first feature film too, really sound advice about keeping our circle small, and how to navigate this business. Having her advice and mentorship was really crucial for me.

Then thirdly, meeting Reese Witherspoon and working with her, she’s everything. When you work with top-tier actors who have been doing this for a while it can feel a little intimidating but also very beautiful. Actors who can really perform, keep you on your toes and I'm so grateful to have that experience. 

What are the most important qualities to have as a documentary maker? What is your ultimate goal when telling a story?

I think a lot of people throw around ‘authenticity’ a lot, but for me, I really want to show the interior worlds of Black women and Black folks, in a way that maybe you've never seen or heard before. I'm really interested in showing that there are so many colours, layers and textures to our humanity. And how can I humanise the person as much as possible. Collaborating with a subject matter or participant is really important to me, allowing them to be a part of the process and asking them under the sun is vital as a filmmaker.

I see it as a privilege and honour to document the stories of people on screen, especially Black and underrepresented voices.

 It’s crucial to feel like the person is truly themselves on screen and I always feel fortunate to capture anyone I work with on screen. I see it as a privilege and honour to document the stories of people on screen, especially Black and underrepresented voices.

I also do a lot of informal interviews and spend informal time with my subjects. No camera, just being around them, being in their presence. I hang out with my interviewees and gain a bit of solidarity and camaraderie so that truth, empathy, and transparency come across on screen more naturally.

You need a lot of tenacity, stubbornness, and determination as a documentary filmmaker, well as a filmmaker in general. I always say if you don’t do well with surprises or spontaneity, do not go into filmmaking. It’s a wild ride and you need a strong anchor if you want to keep going in this industry.

Whether it's a commercial, film, or TV show, our work remains immortal long after we're gone. People will look back and say; did that really happen to these people?

Additionally, there is often a lot of footage to piece together. We did over 20 interviews for Black Girls, and there were so many paper cuts for each interviewee, revisions, editing, and trying to piece things together. It takes a lot of patience, and I'm not a very patient person. (laughs)

I’m always asking myself, why are we documenting this right now? Whether it's a commercial, film, or TV show, our work remains immortal long after we're gone. People will look back and say; did that really happen to these people? It’s a visual historical document, and it shouldn’t be taken lightly. It should be treated with care like watering a plant so it can bloom and blossom into something absolutely stunning. 

How do you balance your commercial and personal work? 

I'm grateful to be working as a commercial director, but I deeply desire to make stories I believe in. In the commercial space, I want to make and tell stories in different countries about the wonderful people that inhabit this globe. Also, I would love to do cool edgy, fashion, comedic and stylish music videos and more provocative work. I want to do it all, like VR, mixed media, video games, etc. Because why not? I sometimes find people who work in advertising to be very limited in their thinking. 

When you have my time you really have it, but you also shouldn’t waste it. When I love, I love deeply, and my love should be respected, just as my time. 

I love my personal work because it truly gives me an opportunity to be in complete control of my voice, and that is something I’m moving towards more as a visual and multi-disciplinarian artist. As a deep person, I need to be fed by the work I’m doing, if not, what’s the point? 

How is your work/ life balance? 

Funny you ask this, as it was one of the first questions I asked the chair of department when I went to film school. At the time I was like hey, so how do you balance your work and life? I think he was so stunned that I was ballsy enough to ask.  If money wasn’t an issue I’d create this new world, a planet, and figure out what the new rules of this world would be. 

I can't be the friend that my friends talk to every day, I just don't have the bandwidth. As a result, I need people in my life who are understanding of my reality and limitations as it pertains to my time. When you have my time you really have it, but you also shouldn’t waste it. When I love, I love deeply, and my love should be respected just as my time.

I would like to see more people, brands especially, be brave and commission amazing work in the commercial world to real talent. 

What would be your dream film to make?

I really want to get into genre work. There's a film I have in mind, it’s set in the future - my face probably just came alive thinking about it! If money wasn’t an issue I’d create this new world, a planet, and figure out what the new rules of this world would be. It makes me so excited just thinking about it.

I'm very interested in world-building, especially in the near future. What does that look like? Are we using 3D compositing etc? I’m very interested in what this world could be and creating it just gives me chills. 

If you could change one thing about the commercial industry, what would it be?

A lot of clients believe that they are doing the necessary work, but there are so many instrumental things that a filmmaker needs to really be successful. I wish that larger brands offered a pipeline for commercials. To become a stronger director, whatever the resources or the tools they need should be provided. 

I think instead of focusing on AI, we as an industry need to treat and show more compassion to the filmmakers who are humans and not bots. 

I would like to see more people, brands especially, be brave and commission amazing work in the commercial world to real talent. I find a lot of people hire me to direct diverse talent, but unfortunately the budgets are still limited. I find as a Black woman director things sometimes feel more difficult or challenging because of my race and gender. I think instead of focusing on AI, we as an industry need to treat and show more compassion to the filmmakers who are humans and not bots.