‘The Big Fuck-Up’ Producer Gearing Up to Launch Bold Dramedy ‘Boho’

After hitting Canneseries by storm with “The Big Fuck-Up,” leading Flemish production label Jonnydepony is gearing up to release millennial female-led comedy “Boho.” Created by Abbie Boutkabout and directed by Olympia Allaert, the dramedy is set in the vibrant neighborhood of Borgerhout in Antwerp and boasts intricately choreographed dance and music to tell the intertwined stories of three friends. The series is currently in edit lock, with Jonnydeponny using Mipcom as its first proper introduction to the market. Streamz has the Belgian rights. 

“Boho” follows three thirty-something-year-olds: Kima, her sister Nawal and friend Alex. When Kima’s seemingly stable world is turned upside down, she dives headfirst into long-buried artistic pursuits that make her confront old dreams, family pressures and crippling self-doubt. The show stars Ikram Aoulad, stand-up comedian and presenter Serine Ayari and hip hop artist Miss Angel.

Speaking with Variety ahead of Mipcom, Allaert says she felt “immediately” drawn to the story. “I had a lovely chat with Abbie because she envisioned this story and these characters in a way that she doesn’t want to point out any differences. She wants to show the similarities of their expectations, paths and choices.”

Jonnydepony co-owner and producer Helen Perquy says this is a series about “three people living their lives.” ‘The fact that there are three characters of color is not the story. There is a lot of joy, playfulness and tenderness between the characters. Abbie said that, growing up, she had never watched a series in Flanders where she could see herself on screen and this is a story for all the people who felt the same.” 

Perquy emphasizes she was involved in the series development from the very beginning, saying she felt the show had “an authentic voice.” Once they landed the VAF production fund, the veteran producer felt it was “important” to have a heavy presence of female talent in both cast and crew. The result is that all heads of department for “Boho” are women. “There is so much female talent today but we simply don’t see it enough. As a female producer, I always try to push for it.”  

But Perquy is weary of selling “Boho” solely on this fact, reiterating that having all female heads of department should “not feel like a bold choice.” “No one ever sees a show where all heads of department are men and makes a note of it. What is bold about ‘Boho’ is the inclusion of dance and music in the way we tell the story.”

Dance is at the heart of the series’ storytelling, seamlessly woven into the narrative as spontaneous choreographies that emerge from emotions, thoughts, or words to offer intimate glimpses into Kima’s inner life. The dance sequences are complemented by custom-made tracks and carefully selected licensed music, creating a culturally layered and genre-blending soundscape that supports the show’s unique atmosphere.

“It’s a really bold choice to implement dance and music,” says Allaert. “We get drawn into the main characters’ feelings and how they experience that very moment. I felt it offered a sense of recognition. We’ve all been there once when you have music in your years while walking through the city and the world just opens up in another way.” 

The exec takes a moment to highlight how the competition between broadcasters and streamers “has given a push to creativity” in her country. “In Belgium, we have always been creative, but we have opened our eyes to the international market.”

The producer is wary, however, of the current financial and sociopolitical moment in Europe and the rest of the world. “We also feel the economic crisis heavily and it would be a real shame if all this fruitful creativity is lost. I have been in the business a long time and it breaks my heart to see young talent at the moment being told that, to be bold or do things differently, you need the money to back it up and it isn’t there.” 

“This is why we loved making ‘Boho,’” echoes Allaert. “It’s important to tell stories that don’t just feel safe. If we go back to safety, then we lose talents, and that is such a pity.”

This environment of uncertainty has led to a certain regression in the industry, Perquy believes, especially when it comes to gender parity. “In the last five years, there has been a rise in women writing, directing, and more. But, unfortunately, our industry is facing a lot of challenges globally, and I have a feeling that decision-makers choose safety, wherever that means, and the industry is becoming a bit more conservative. Women still aren’t seen as a safe option, so I don’t think we have equality just yet. I feel we are taking a step back in a way. We were headed in the right direction, but the old white man is back.”