Malia Obama’s directorial debut for Nike has stirred backlash in the filmmaking community, with accusations she stole the idea from another rising filmmaker.
The former first daughter, who professionally goes by Malia Ann, recently directed two commercials for WNBA star A’ja Wilson’s first signature Nike sneaker line, A’One. However, what should have been a celebrated creative achievement has instead sparked debates about originality, credit, and privilege in the film industry.
The commercials caught the attention of filmmaker Natalie Jasmine Harris, who took to social media to express her disappointment over what she perceived as striking similarities between Obama’s Nike ad and her own 2024 short film “Grace.”
Both Harris and Obama had projects screening at the 2024 Sundance Film Festival, making the apparent overlap particularly personal for Harris.
“Been sitting with this for a while. My Sundance short film ‘Grace’ (shot brilliantly by Tehillah de Castro) was made with deep love and care. The social cut of the new Nike commercial directed by Malia Obama (who was also at Sundance my year) feels shockingly similar to my work,” Harris wrote on X May 5, while sharing visual comparisons between the two projects.
Harris’s short film, described as “a dramatic Black Southern Gothic,” features scenes of two young Black women from the 1950s sitting on front steps, playing hand games while laughing and clapping.
The Nike commercial directed by Obama shows WNBA star Wilson engaged in similar hand-clapping games with a young girl in a present-day setting. Harris noted additional similarities in composition techniques, including the use of front doors as framing devices and comparable film grain coloration.
11 cheerleaders and dancers from Benedict College appeared in WNBA star A’Ja Wilson’s Nike commercial directed by Malia Obama 👏🏾✨👟 pic.twitter.com/iVvGrQ14Cf
— Sauce Carolina 🌙🌴 (@SauceCarolina) May 9, 2025
The accusations have prompted strong reactions from supporters of both filmmakers. Some viewers have rallied behind Harris, with one social media commenter writing, “Yeah, definitely a rip off of your work, but your dad wasn’t President so you’ll be attacked for defending your work against someone shamelessly ripping it off.”
Another supporter expressed solidarity, commenting, “Glad you spoke up about this! Going to be on the lookout for how they choose to respond, the similarities are vivid…”
Others have defended Obama’s work as distinctly different or drawing from common cultural experiences. “You are absolutely reaching,” said one person while another suggested, “I see the similarities too how frustrating.”
“Seems very different. And both scenes are also meant to evoke different emotions as well,” argued one person on social media.
Another commenter on “The Rickey Smiley Show” Instagram page dismissed the controversy entirely and the notion that the idea was stolen from Spike Lee.
“Negative no one copied Spike Lee! The ad is literally A’JA’s personal life experience! While it’s similar to a whole lot of little Black Girls, it is HER experience and NOT owned by ANYONE!” they wrote.
In her expanded social media commentary, Harris highlighted broader issues about access and opportunity in filmmaking.
“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,” she wrote, tagging both Nike and Wilson. “If brands want a certain look, why not hire from the source instead of for name recognition?”
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
Harris later shared additional thoughts on Instagram, expressing deeper frustrations about the challenges faced by emerging filmmakers without family connections or generational wealth.
“I don’t have much else to say, besides that this is quite disheartening and disappointing,” she wrote. “I’m constantly posting about how difficult it is to be an emerging filmmaker right now and sustain myself without benefitting from family connections, generational wealth, or nepotism… and then to see this just really gives me even less hope that this industry wants me to be here.”
Obama, a Harvard University graduate, has established herself as a director and screenwriter, including work on the 2023 show “Swarm” before making her Sundance debut with “The Heart.”
Her Nike commercial was created for Wilson’s highly sought-after A’One Nike shoes, which reportedly sold out within minutes of their release, according to Bleacher Report.
While representatives for Obama and Nike have not responded to requests for comment, the controversy highlights ongoing conversations about creative attribution, opportunity, and privilege within the entertainment industry.
Harris’ short film “Grace” explores themes of faith, identity formation, and queer Black women’s historical presence, while Obama’s 2024 Sundance short “The Heart” follows a man dealing with guilt after his mother’s death following an argument, the New York Times report.
The situation reflects the complex dynamics at play when emerging artists from different backgrounds find themselves navigating the competitive landscape of creative industries, where questions of originality, influence, and access to opportunity often intersect with larger discussions about representation and recognition.
