Following a triumphant debut at Canneseries with “The Big F***-Up,” the prominent Flemish production company Jonnydepony is set to launch a new millennial female-centered comedy, “Boho.” Developed by Abbie Boutkabout and directed by Olympia Allaert, this dramedy unfolds in the lively Borgerhout neighborhood of Antwerp, showcasing intricately designed dance and musical elements to narrate the interconnected tales of three friends. Currently in post-production, Jonnydepony aims to use Mipcom for its official market introduction. The Belgian streaming rights are held by Streamz.
“Boho” explores the lives of three women in their thirties—Kima, her sister Nawal, and their friend Alex. As Kima’s seemingly secure existence is shattered, she plunges into her long-suppressed artistic aspirations, prompting her to reevaluate past ambitions, familial responsibilities, and debilitating self-doubt. The series features Ikram Aoulad, comedian and presenter Serine Ayari, and hip hop artist Miss Angel.
In a conversation with Variety prior to Mipcom, Allaert expressed her immediate connection to the story. “I had a wonderful discussion with Abbie, who envisioned this narrative and its characters in a manner that emphasizes their commonalities rather than their differences,” she explained.
Jonnydepony co-founder and producer Helen Perquy remarked that the series focuses on “three individuals navigating their lives.” She noted, “The presence of three characters of color isn’t the central theme. It’s filled with joy, playfulness, and tenderness among them. Abbie shared that she grew up without seeing her reflection in Flemish television, and this series is for everyone who has felt that absence.”
Perquy highlighted her involvement from the inception of the project, noting the show’s “authentic voice.” With the backing of the VAF production fund, she emphasized the importance of showcasing female talent both in front of and behind the camera. Consequently, all heads of departments on “Boho” are women. “There’s an abundance of female talent today, yet it remains underrepresented. As a woman producer, I always strive to champion this talent.”
However, Perquy is cautious about promoting “Boho” merely on the basis of its all-female leadership, stating that this should not be viewed as a groundbreaking decision. “No one notes a show where all heads of departments are men. What makes ‘Boho’ exceptional is the combination of dance and music in its storytelling.”
The narrative of the series is deeply rooted in dance, which is intricately woven into the story as spontaneous choreographed expressions that emerge from characters’ emotions and thoughts, offering an intimate look into Kima’s inner world. These dance moments are enhanced by custom tracks and carefully curated licensed music, creating a culturally rich and genre-blending soundscape that enriches the series’ unique atmosphere.
“It’s an adventurous decision to incorporate dance and music,” said Allaert. “These elements immerse us in the characters’ emotions and experiences at that moment. It feels relatable; we’ve all had times when music has transformed our perspective as we walked through the city.”
The director noted that the competitive landscape among broadcasters and streaming platforms has spurred creativity in Belgium. “We have always been inventive, but our focus has broadened to the international audience.”
Nonetheless, the producer remains cautious regarding the current financial and sociopolitical climate in Europe. “The ongoing economic crisis is palpable, and it would be devastating to lose all this vibrant creativity. I have witnessed enough decay in the industry and it pains me when emerging talents are told they require substantial financial backing to pursue innovative ideas, which is often lacking.”
“Creating ‘Boho’ was a labor of love,” echoes Allaert. “It’s crucial to tell stories that venture beyond the confines of safety. If we revert to what’s comfortable, we risk losing talent, which would be a tremendous loss.”
Perquy reflects on the environment of uncertainty, suggesting it has led to a regression in the industry, particularly concerning gender equity. “In the past five years, we’ve seen an increase in women writers, directors, and creators. However, the industry faces numerous global challenges, prompting decision-makers to gravitate towards safety, and unfortunately, this makes the landscape more conservative. Women are still not regarded as a secure choice, indicating we haven’t achieved true equality yet. It feels like we’re backtracking to some extent. While progress was being made, the traditional power structures are reasserting themselves.”
