The film world, where originality is both currency and creed, is facing another flashpoint in the ongoing conversation about authorship, access, and influence—this time centered around Malia Obama, who now goes by Malia Ann in her professional directing work.
A commercial she recently directed for Nike’s launch of WNBA superstar A’ja Wilson’s A’One signature shoe is now under fire from fellow Sundance alum and independent filmmaker Natalie Jasmine Harris, who says the ad bears striking—and disheartening—similarities to her 2024 short film Grace.
Harris took to X (formerly Twitter) and Instagram to air her concerns, noting that while it’s true that artistic ideas can overlap, the Nike spot felt “shockingly similar” in its visual language to her own film.
She pointed to composition, framing, and editing choices that she says mirror her work—not merely in concept, but in execution. Harris emphasized that her issue isn’t about a game of hand claps, which features in both pieces, but about the cinematic expression—a far more nuanced allegation.
I know art often overlaps, but moments like this hit hard when you’ve poured your heart into telling stories with care and barely get the recognition you deserve. If brands want a certain look, why not hire from the source instead of for name recognition? @Nike @_ajawilson22 pic.twitter.com/Y57ACZiPRe
— Natalie Jasmine Harris (@nataliejharris) May 6, 2025
It’s worth noting that both filmmakers were at Sundance the same year, with Harris premiering Grace and Obama presenting The Heart. In a follow-up post, Harris shared photos of the two together at the festival, underscoring that this wasn’t a case of two strangers in parallel artistic lanes—but two filmmakers in close proximity, one of whom is now at the center of a corporate-backed campaign, the other still climbing the steep rungs of the indie circuit.
At the core of Harris’s frustration is a deeper, longstanding critique of the film and media industries: the role of nepotism and name recognition in determining who gets opportunities.
“Why not hire from the source?” Harris asked pointedly in her post. It’s a question that lingers: if a brand like Nike wants a particular tone or visual feel, why not go to the creator who already developed it?
While Harris stopped short of accusing Obama directly of plagiarism, her words strike a powerful chord for many emerging artists trying to carve out space in an industry where connections often eclipse creativity. The emotional tone of her posts—disappointed but restrained—reveals a filmmaker who knows the risks of speaking out but feels compelled to do so anyway.