Lamin Leroy Gibba is a storyteller in its truest sense. With a diverse background in filmmaking, writing, and acting, he has carved out a unique space in the media industry. After studying at The New School in New York, where he explored the intersection of theatre, film, and storytelling, Gibba returned to Germany with a clear mission: to amplify Black voices in an industry that often marginalizes them. This drive led to the creation of Schwarze Früchte, a series that challenges stereotypical portrayals of Black and queer characters. Despite facing initial resistance, Gibba’s persistence and vision have made a lasting impact, opening doors for more authentic representation in German media.
Lina Kürschner: Your career is incredibly varied. Did you always dream of becoming an actor or working in the film/media industry?
Lamin Leroy Gibba: My first role was in kindergarten, in The Rainbow Fish. So since I was a child, I was fascinated by storytelling – I made short films, wrote plays and often played several roles myself. But at some point I felt like I had to commit to only one of them. The idea of pursuing acting, directing and writing in parallel seemed out of reach for a long time.
Then I started studying acting in New York at an interdisciplinary university that combined theatre, film and storytelling. In one semester I directed, in another I wrote for the stage and they even offered screenwriting courses. This creative freedom encouraged me to create my own projects together with my fellow students – from short films and theatre plays to various experimental formats. I returned to Germany with this energy. Of course, as an actor, you’re happy to be offered roles, but at some point I realised that if you want to tell specific kinds of stories, you can’t just wait to be cast in them, you have to initiate projects yourself. This self-determined approach towards work has accompanied me to this day – as an actor, author, producer and director.
LK: How did your time at the New School in New York change your artistic understanding?
LLG: New York has shaped me both as an artist and as a person. Not only did I develop my aesthetic language there, but I also gained a different kind of confidence in centering Black perspectives. I’ve experienced early on how little space Black perspectives have in German theatre and film contexts. It was different in New York: half of my teachers and many of my fellow students were Black, and there was an entire industry in which these perspectives were not only naturally represented, but also actively promoted. Learning in this environment for five years was an enormous gift. So it definitely was witnessing the determination and confidence of Black Americans telling their stories that inspired me over the years and gave me tools to take up space without asking for permission. When I enter artistic spaces in Germany today – be it with a series, a play or a film – I bring that conviction with me. Of course, this often causes resistance. There are still many restrictions and expectations on how and where Black narratives are ‘allowed’ to be told. There is still a lot of work to be done here – but that is exactly what drives me.
LK: You have lived and worked in different places. Where do you really feel at home or what does home mean to you?
LLG: There’s this TED Talk by Taiye Selasi called ‘Don’t Ask Where I’m From, Ask Where I’m a Local’. When I saw it for the first time in New York, I immediately resonated with it. Because that’s exactly how I feel: for me, home is not a single place, but a feeling of familiarity. I grew up in Hamburg – that remains my childhood, my first formative memories. But I also feel like a local in Berlin and New York. I know these cities, their rhythms, their idiosyncrasies. They are just as much a home to me – also because of the people who live there.
LK: A series like Schwarze Früchte is a strong statement in the German media landscape. Was there any resistance or particular challenges during the final production?
LLG: The biggest challenge was at the very beginning, when I pitched the series. There was an incredible amount of pushback – a clear ‘no’ from many sides. I was told that Schwarze Früchte wasn’t relevant, that there was no audience for it. That was pretty rough. But I was in the mindset I described earlier: If something doesn’t exist, then you just make it yourself. I didn’t expect to come back to Germany and suddenly find open doors. I was aware that it would be a struggle. So I just kept going. It was also important for me to work with a production company that really understood the vision and not only accepted it, but actively pushed it. Jünglinge Film was just such a partner. Instead of watering things down, they said: Go further! Think even bigger! Through the collaboration with Studio Zentral and ARD, which was also accompanied with lots of trust, the show was able to become what it is now. Of course I had to prove myself. I had never made a series before, and it was hard work for several years.
LK: Did you learn anything about yourself during the production of Schwarze Früchte?
LLG: Above all, I learnt that I can do it. I knew that I had something to offer as a writer and actor – I had no doubts about that. But what it really means to be a showrunner of a television show, to carry a vision from the initial idea to the final realisation, to put together a team, to lead it and to take on this responsibility, is something I only learned step by step. Over 200 people were involved in this series – an enormous responsibility. It was a long, demanding, deeply collaborative process and at some point I realised: This feels right. I want to keep doing this.
LK: Lalo is a multi-layered character. Would you say there are any parallels between you, or how much of yourself can be found in Lalo?
LLG: I try to find a personal connection to every character I play. Creating Lalo in Schwarze Früchte was really exciting because he feels deeply connected to me and also not at all. The series is not autobiographical and Lalo is not me, but there’s so much of me in this show and its characters. We wrote the series inside of a writers room, based on our imagination but also our hopes, fears, questions and observations. So personal experiences naturally play a part, but the series is the result of collective work. Black, queer or otherwise marginalised artists are often reduced to or expected to only tell autobiographical stories – which is such a limited and limiting assumption.
LK: Many formats often only superficially address the representation of BIPoC and LGBTQI+ perspectives. What do you think makes Schwarze Früchte different – or perhaps more accurate?
LLG: It was particularly important to us to show Black and queer characters in all their complexity – without reducing them to stereotypes or certain functions. Such characters are often portrayed either as victims or perpetrators, marginalised figures or moral authorities, but rarely simply as people with all their contradictions, flaws and desires. Lalo and Karla should not just be ‘likeable’ or ‘representative’, but have real rough edges. They make decisions that are not always understandable, they don’t fit into certain boxes – and that’s exactly what makes them authentic. Marginalised characters are often either not allowed to exist at all or only if they fulfil a recognisable function: as an embodiment of trauma or strength. We wanted to break through this and create characters that are messy and complex and who are not solely defined by their identity.
An essential part of this authenticity was also the acting. The two casting directors Tsellot Melesse and Terri Harris really did an incredible job in assembling this cast. They actively sought out new talent and went above and beyond to find the right person for each role – who all brought so much truthfulness to this show.
LK: Are there certain scenes or moments in the series that are particularly close to your heart?
LLG: The argument scene between Karla and Lalo in episode 5 stands out to me. In it, a lie that has been building up over the whole season comes to light and Lalo is confronted with the consequences. Instead of actually facing up to the mistake, he only apologises half-heartedly, not really allowing Karla to have a truthful reaction. The scene unfolds into a mixture of anger, vulnerability, hurt and unspoken things. They both say really painful things to each other, and there’s no simple ‘right’ or ‘wrong’. This scene was a real challenge – both as a writer and actor. In it, I had to be especially careful not to view Lalo with a judgmental outside perspective – no matter how objectively reprehensible his actions or statements might be. I had to fully remain within his subjectivity in order to do justice to the character. It required a different kind of focus and perhaps even a bit more courage than usual.
LK: Do you think or hope that the series can initiate a change in the German media landscape, or has it already done so?
LLG: Yes, I definitely hope so. Schwarze Früchte shows how important it is that marginalised storytellers are given space to present their own narratives in their own way – without conforming or being simplified. What I want to emphasise is that this series could only be so unique because we had real artistic freedom. Of course there are always limitations, but in terms of the story we told, we were able to stand behind it 100 per cent. I hope that more production companies and editorial teams have the courage to give filmmakers this freedom. I believe that things are changing within the German media landscape. And I hope that Schwarze Früchte will help to drive this change forward – not as an exception, but as a new matter of course.
LK: Are there any plans to expand the universe of Schwarze Früchte and are there any other projects in the near future?
LLG: From the beginning, the series was created to have multiple seasons and we definitely want to continue telling this story. But I can’t confirm anything concrete at the moment. There are definitely ideas that we would like to pursue – but it remains to be seen how everything develops. A feature film for cinema might be my next project. I’m really excited about going down that route too. So Stay tuned!
