Why Mintslate Media’s No One Wants Me Is A Film About Survival, Not Sympathy

Some films ask audiences to feel sorry for their characters. No One Wants Me asks something different. Mintslate Media’s upcoming drama does not seek sympathy or easy emotional release. Instead, it explores survival as a quiet, ongoing process shaped by abandonment, silence, and the need to keep moving forward even when no one is watching. Written and directed by Seyi Oluwatimilehin, the film refuses to soften the realities it portrays.

Founded in February 2025 by filmmaker Seyi Oluwatimilehin, Mintslate Media was created to tell stories rooted in lived experience. No One Wants Me embodies that mission by focusing on moments that feel painfully real rather than theatrically dramatic.

“One of the reasons I founded Mintslate Media was to tell stories that are real, stories that are relatable, honest, and true to our time and existence,” Seyi Oluwatimilehin says. “Every one of these films carries a piece of my story, from feeling unwanted, to living through and understanding racism, to the quiet horrors of job seeking.”

At the centre of the film is Daniel, a sixteen year old boy played by Kale Louie. Daniel arrives at a stranger’s apartment under false pretenses, holding what he believes may be his last chance at something better. His optimism is fragile, shaped by a childhood marked by absence and blame.

“I think Daniel starts off with a terrible childhood, he basically thinks everything bad that's happened to him is his fault,” Kale Louie says. “When the film begins, he's holding what he thinks is his last glimmer of hope and he's optimistic but also naive to what he may be expecting to meet.”

Emily, played by Hannah Klamann, is not positioned as a saviour or villain. She is a woman carrying her own unresolved trauma, attempting to navigate a situation she is not fully prepared to confront.

“I would describe Emily as a very complex character,” Hannah Klamann says. “She went through intense emotional trauma at such a young age and carried that trauma into adulthood even though she tried to separate herself from it as much as she could.”

Rather than asking the audience to pity its characters, No One Wants Me allows them to exist as they are. The film does not explain their pain away or offer moral clarity. It observes how survival often looks messy, contradictory, and uncomfortable.

“What makes this film unique or exciting is the realism within it,” Hannah adds. “Life is never linear and every character's story, fictional or not, shouldn’t have to be either.”

As both producer and director, Seyi Oluwatimilehin approached the film with a sense of responsibility toward the emotional weight it carries.

“As a producer and creator of these projects, I almost feel like a parent to all of these characters,” he says. “That feeling runs even deeper for me as the director of No One Wants Me and Job Seekers.”

Through its restraint and honesty, No One Wants Me positions Mintslate Media as a film company interested in emotional truth rather than spectacle. The film does not ask viewers to judge its characters or resolve their pain. It asks them to recognise how survival shapes behaviour when sympathy is not guaranteed.

As an upcoming release, No One Wants Me stands as a reminder that endurance is not always loud or heroic. Sometimes, it is simply the decision to keep going, even when the world has taught you to expect nothing.