‘I Wanted to Show the Unpopular Side of Depression’ – Aisha Salaudeen on We Have Bleach

We Have Bleach is a debut short film by journalist and storyteller Aisha Salaudeen, whose intriguing title sparks curiosity and evokes layered meanings. It just screened at AFRIFF.

The first time I came across the title We Have Bleach, I was struck by how extraordinary it sounded. Titles are usually straightforward and, if not, they at least hint at what a film is about. We Have Bleach did almost the opposite. It piqued my curiosity, as the word “Bleach” evoked one of two things in my mind—either severe cleaning was needed, or this would be a story involving the controversial and harmful use of bleach in mental health.

Nonetheless, I was struck by how brilliantly unusual this title was, so, I caught up with journalist and storyteller Aisha Salaudeen said she had originally intended to title her debut short film Bleach. Her goal was to create a title that would intrigue people and keep them guessing. She decided to make the title layered, just as the theme the film tackles is layered.

How do you feel about making your short film directorial debut?

I feel normal, but also a bit different because this is the first time I'm directing a short film. Everything I've directed before has been documentaries, so this was a new experience. I also feel like the inevitable has happened, and now I am relieved. Filmmaking has always been my goal, and I feel like I finally have one foot in. Now, I'm just looking forward to seeing what we do with We Have Bleach and what the future holds for me as a filmmaker.

What about visual storytelling fascinates you the most as a medium?

I have a personal bias, and some people may disagree, but I believe it's easier to relate to and resonate with things you can see visually. When you see expressions and movements on screen, you can connect with them better. That’s what appeals to me personally.

That’s why most of the projects I work on have strong visual elements. It’s a powerful human sense, and I lean into that.

This isn’t your first rodeo. You’ve devoted much of your career to spotlighting African stories. So what about this new iteration is different?

Many things are different about this experience. On the technical side, from selecting music to figuring out production details, it was a lot of learning. I had to start from scratch, which was very humbling. I needed to do things I hadn't done before, like creating a director’s script and guide. Previously, I only got producer credits for the documentaries I made. Directing was a completely different ball game—it meant managing a larger crew and thinking through everything from start to finish. The technical side was full of new information and challenges.

Visually, it was the first time I brought a nonfiction story to life from ideation to execution, and it was also my first time writing a film script. That was both new and interesting. To sum up, the learning process was what made this project different.

Can you talk a bit about the story development process?

I like to say the story is nonfiction, inspired by real life. It had been in my mind for a while, and the question was how to turn this real-life event into a bigger, more relatable story.

The first step was writing a script and developing the characters. Since I didn't know how to do that, I reached out to Tunmise Oluyede, a producer and writer with experience in telenovelas for Africa Magic and Showmax. She walked me through the process of thinking about the story and co-wrote the script with me.

Next, we had to cast the film. I didn’t view this as a commercial film, so the casting wasn’t based on popularity. We focused on finding the right actors for our three main characters. I had my director’s treatment and mood board ready. The table reading was beautiful, and it convinced me we were doing something meaningful. Tunmise Oluyede came on as the producer, and Vistanium was the executive producer.

We filmed over a weekend, which was an interesting learning curve. I'm used to things going wrong even when plans are well-laid, and that happened here. For instance, we found out that the equipment cost had tripled just 24 hours before we needed it. However, we managed, and everything turned out better than expected. The actors were fantastic, and the second day of filming went smoothly, finishing on time.

One thing I’m especially proud of, which people often don’t understand, is that there was no yelling on set. In production, it's almost expected that tempers will flare, but we managed to make something great without any tension.

What was the most challenging aspect of directing this film?

Balancing production and directing was the most challenging part. As the director, I had a vision for how the film should look, but on set, I had to deal with reality. I often had to choose between getting a creative shot and settling for something simpler due to time constraints. It was tough and a bit disappointing to compromise on certain shots, but it was necessary.

Where did the idea for We Have Bleach come from?

It stemmed from a personal experience. Many years ago, as a teenager, I had a friend who struggled with depression. I didn’t understand it then, but I do now.

I wanted to create a film that explores mental illness, particularly from the perspective of young people who might not fully grasp what depression means. The film is about a teenager trying to navigate her emotions and understand what’s happening to her, even though she has a support system in her mom and best friend. Eventually, she must decide whether to keep fighting or let go.

The title had to be intriguing, so I avoided anything overtly related to depression or mental illness. The choice of “Bleach” was symbolic, as it tied into suicidal ideation and the character’s struggle. Originally, I considered just Bleach, but decided on We Have Bleach for more depth. Some people even thought it was about skin bleaching, and I was fine with that ambiguity.

What impact do you want this film to have?

I want the film to make viewers think more critically about mental illness. The main character is surrounded by support but still battles depression, challenging the stereotype that depression only affects those who lack love or resources. I want to show that mental illness can affect anyone, regardless of their circumstances.

The goal is to offer a fresh perspective, spark conversations, and make the story relatable.

What was the casting process like, and what guided your selection?

I knew from the start that I needed young actors since it’s a coming-of-age story. I wanted people who could express emotions without relying heavily on dialogue. Visual storytelling is crucial, and this film required more showing than telling. I put out casting calls through my Nollywood network and received great recommendations.

The three actors we cast were exceptional, fitting their roles perfectly and requiring minimal direction. I prefer letting actors interpret scenes their way, stepping in only when needed, and they did a fantastic job.

What is Vistanium, why is its work significant, and what informed your collaboration with them?

Vistanium is a creative studio at the intersection of media and technology. We tell compelling stories in various formats—podcasts, films, and articles. This collaboration was a natural fit, as We Have Bleach is Vistanium’s first film project, but we have a solid network in filmmaking and production. Being a co-founder of Vistanium, I had access to resources and connections that made the process smoother. When I pitched the idea to my co-founders, they supported it fully, providing funding and resources.

Vistanium focuses on telling stories about interesting people, places, and events across the continent. This short film is the first of many projects we hope to create.

What kind of stories do you want to tell as a director, and who do you want to collaborate with?

Moving forward, we plan to collaborate more and go commercial. We understand that while we enjoy making meaningful content, we also need to sustain the business. I don’t have a specific genre or type of story I’m drawn to; I focus on stories that are impactful. The question I ask is: “Will this resonate and be meaningful?”

Currently, we’re working on a limited series unrelated to mental health, centered around Corps Members. It’s random but interesting and impactful. We aim for collaboration, especially on feature films and larger projects that require more resources.

We’d love to work with top directors like Jade Osiberu and Funke Akindele, but we’re also open to collaborating with lesser-known creatives doing great work. We’re slowly moving into Nollywood, and while it’s a gradual process, it’s exciting. The bottom line is that we aren’t limited to any genre or topic; it just has to be compelling and important.