Indeed, Ni’Jah’s most ardent fans refer to themselves as the Swarm, a not-so-veiled nod to the contingent known as the BeyHive. When introduced, Dre is an awkward person who shares a strong bond with her friend Marissa (Chloé Bailey), which includes their passion for a musical star named Ni’Jah, who is very definitely intended to be confused with Beyoncé. “Swarm,” too, is almost defiantly weird, in a mish-mash of styles and themes that draws from biting satire, understated comedy and most pointedly of all, horror, in a way that recalls some of Jordan Peele’s post-“Get Out” films.Īll of those things are helped immeasurably, it turns out, by casting Dominique Fishback (whose credits include “The Deuce” and “Judas and the Black Messiah”) as Dre, the central figure in a show that opens with her character experiencing a tragedy, then dealing with the aftermath of that on the city-hopping journey that follows. Glover has clearly marched to the beat of his own drummer in terms of his TV work, with “Atlanta,” which recently completed its run, serving as a prime example of that. But there is a lot to be said about the limited series’ provocative view of fan culture, and how such loyalty can turn into obsession. (Jan.The producers of “Swarm,” a new Amazon series co-created by Donald Glover and Janine Nabers, have issued a “Do not spoil” list that precludes detailing much about the show beyond the fact the seven episodes were shot in color.
Agent: Pierre Astier, Astier-Pécher Film & Literary. This elegant allegory of globalization’s insidious nature finds rich drama in the tense, turbulent reckoning with questions of modernity versus tradition.
Though the parallels are occasionally heavy-handed, such as a bee-ravaging parasite as metaphor for colonial invasion, lyrical prose and layered insights transform what might have been a predictable fable into a vivid meditation on societal discord and harmony. Determined to learn how to protect his bees, Sidi leaves them in the care of sympathetic neighbors to visit the capital, where he can find books to help him battle the hornets. As increasingly radical fundamentalist Islam infiltrates the once peaceful village, Sidi discovers the Party of God members were behind the death of his bees. Meanwhile, the nation’s first “truly” democratic elections are imminent and fundamentalist benefactors hailing from the Party of God have descended upon Nawa to ply the villagers with food and clothes in a bid to win their votes. In the village of Nawa, ascetic beekeeper Sidi wakes to find colonies of his beloved “girls” destroyed by hornets. Manai’s vibrant English-language debut turns on rising political instability and religious populism in Sidi Bou, a fictional country that closely resembles Tunisia after the Arab Spring.
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