This article is part of a column called Philly Profiles, which features in-depth profiles of local moving-image artists and cultural workers, including their body of work, inspirations, and upcoming projects. The column is written by cinéSPEAK Philly Cultural Critics Fellows.
In a cafe on the banks of the Schuylkill near where scenes of Food for the Soul were shot, Chisom Chieke shared about her latest work and journey as a filmmaker. Chieke is an Igbo American multimedia artist who writes, directs, and produces work that examines radical love across Black diasporic communities.
Food for the Soul is Chieke’s newest film which explores multiculturalism within the Black diaspora through its depiction of a romantic relationship between a first generation Igbo American and her Black American partner. The romantic comedy stars Hollywood talent Karen Obilom (Games People Play, Insecure) and Marcus Scribner (Black-ish), Nollywood star Richard Mofe-Damijo, and Philly’s own Tristan Santana.
Chieke’s affinity for the arts and storytelling began at a young age. She remembers writing in journals a lot as a kid and directing short films that she had her parents act in. Though she detoured from the arts in college, Chieke acknowledges that her pursuit of filmmaking has felt most authentic to her.
“My parents are immigrants, so they were very much invested in my education and wanted me to go to school to do well, so I did all those things; maybe more so for them. As a kid, you’re trying to make your parents happy…I focused more on math and science and actually went to school for engineering at Carnegie Mellon University, but I never really let go of that passion for creation.”
Upon graduating, Chieke’s mother sent her an idea for a story exploring inter-diasporic relationships. It reflected many of the relationships in their own family which Chieke describes as a melting pot, and she decided to further develop the narrative. “[My mom is] like our family griot, and I was able to channel that, triggered by her…and just held on to it and let it kind of guide me.”
Through the project, Chieke re-immersed herself in writing and storytelling, which led her to pursue filmmaking full-time; eventually the project became the concept for Food for the Soul. “I’m very grateful for that treatment that [my mom] sent me because I wonder if I would have still been chugging along inauthentically doing some work I hated.”
In reflecting on the title of the film, Chieke says, “We’re exploring culture in many ways in the film, one being through food. And it speaks to the things that really feed our soul, like connection, love, understanding, grace, and empathy, so I think all those things are what the film is about.”
Food for the Soul was made in Philly with support from BlackStar’s Philadelphia Filmmaker Lab. It features familiar places and scenes, such as Ol Boys Soul Food Restaurant in West Philly, The Philadelphia Museum of Art, Kelly Drive, and a classic run-in with the infamous Philadelphia Parking Authority, all artfully captured by cinematographer Wren Rene.
Appreciating Philadelphia’s diversity and artistic community, Chieke speaks to feeling a sense of belonging early on after landing here as a post-grad for a consulting job. Originally from Harrisburg, Chieke has been based in Philly for the past eight years.
“The city gave me a lot of opportunity really quickly and I found [a] community. I found like-minded individuals. It just felt like an open space…Everyone’s supportive of one another and very gritty, and like, ‘Let’s just figure it out together.’ It’s definitely been an integral part of my process, my development as an artist.”
When speaking about collaboration, Chieke also takes a moment to express gratitude for spaces where Black women creators can feel safe in the film industry, highlighting producer Amy Aniobi’s writers’ program, TRIBE, where Chieke wrote the first iteration of Food for the Soul. Chieke says, “I felt safe…I felt like I could talk about the challenges of being a Black woman in this industry trying to share stories that people might not be ready for fully.” She also credits inspirations like Nijla Mu’min, Issa Rae, Stella Maggie, Spike Lee, and Black creators in general “who are connecting the diaspora [and] sharing stories of Black consciousness.”
As a filmmaker, Chieke has received multiple fellowships and opportunities to screen her films: she is a SuperSpecial Writers’ Fellow, a 2025 BlackStar Philadelphia Filmmaker Lab fellow, and has made it to the second round for Sundance’s TV Development Track. Her films have been official selections for The United We Heal Film Festival, OMWAN’EKHUI Film Program, and Stowe Story Labs.
While her directorial work spans the genres of romantic comedy, drama, and afrofuturist fantasy, Chieke’s storytelling consistently features depictions of Black women, explorations of radical love, and intentional honoring of lineage and Igbo American culture. In addition to her upcoming film Food for the Soul, some of Chieke’s past films include #MCM and Blue Journey.
Guided by the concept of Chi, which means “God” in Igbo and is the origin of her name (Chisom translates to “God follows me”), Chieke values maintaining connection to her ethnic roots as a first generation Igbo American and learning about ancient Igbo traditions and indigenous practices. “I identify as Igbo as well as Nigerian because that’s the most original or the oldest way to identify myself. Nigeria was the name given to us. Igbo was originally the culture of my people.”
In collaboration with her brother, Chidera Chieke, she is developing an afrofuturist novella and screenplay entitled Odinala. Chieke explains, “Odinala is a traditional Igbo spiritual practice, and it also has the name Odinani.” Chieke describes the work as a “young adult introduction to respecting our elders and venerating the folks who walked here before us…[The story] explores ancient Igbo traditions through an afrofuturist fantasy lens that connects Black American culture to ancient Igbo traditions…It’s a landscape for everyone to exist together.”
Radical love is another concept and practice that Chieke aims to infuse in both her work and life. For Chieke, this kind of love is honest, realistic, and boundaried. “It’s accepting the dark things…We all have a shadow side…I think loving radically is accepting the challenges that come with people, family, and community, leaning into that, and creating space to talk about it.” Chieke continues, “It’s a controversial topic too, at times, because we don’t want to get it confused with accepting abuse…I think it’s ultimately a test of accountability and understanding yourself and what you can take…Radical love could also be leaving someone where they’re at, because you might not be able to offer them what they need to harness you. It’s a process of understanding and giving grace and being accountable.”
Referencing Philly filmmaker Tayarisha Poe’s sentiment of being rooted in gratitude–which Chieke says has influenced her approach to directing–she echoes that “no matter who is offering a piece, a word, a thought, a question, a suggestion, no matter how stressed I’m feeling or confused or overwhelmed, I have to remind myself I’m here because these people are here with me and we’re on this ship together. I want everyone to feel seen in that moment as we’re creating art together.” Chieke also expresses gratitude for some of her collaborators on Food for the Soul: DP Wren Rene, producer Justice A. Whitaker, and editor Sarah Krusen.
To conclude our time together, Chieke shared the message she hopes viewers receive from Food for the Soul: “Love heals. Whatever that means to you.”
Food for the Soul will debut at Blackstar Film Festival, happening July 31 – August 3.
*Featured Image: Still from Food for the Soul. Courtesy of Chisom Chieke.
Caitlin Green is a Philly-based dance artist whose practice centers the body’s role in holistic wellness, catharsis, and socioemotional regulation. In addition to their work in choreography, performance, and education, they are a writer for the local dance publication thINKingDANCE and first-time director for the experimental dance film Eros: Fragile as it is Free. Caitlin is a 2025 cinéSPEAK Philly Cultural Critics Fellow.
