A new Nike commercial directed by Malia Obama—once known as America’s first daughter—has sparked controversy and backlash after an independent filmmaker accused her of lifting a key visual sequence from a recent short film. Natalie Jasmine Harris, the creator of the 2024 short “Grace”, says she was “shocked” by the uncanny similarities between her film and a scene featured in Malia’s commercial.
At the center of the dispute is a moment depicting two girls playing pat-a-cake—a seemingly innocent childhood game, but one that Harris says carries significant emotional and cinematic weight in her own film.
According to Harris, the resemblance goes far beyond the game itself. She points directly to the “framing, pacing, and stylistic choices” in Obama’s version, arguing they closely mirror her own work.
“It’s not about the game,” Harris told “Business Insider.” “It’s about the cinematic tools used to depict it.” She elaborated further in a May 5 post on X (formerly Twitter), saying, “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.”
That statement alone has fueled a wave of online discourse about artistic integrity, creative ownership, and the politics of name recognition in the entertainment world.
Harris didn’t stop there. She also raised concerns about how high-profile brand campaigns, like the one from Nike, often favor celebrity ties over raw talent. “If brands want a certain look,” she wrote, “why not hire from the source instead of for name recognition?” Her frustration was palpable, and the emotion behind her comments underscores what many independent artists have long felt: that the system often prioritizes fame over innovation.
Perhaps most notably, Harris revealed that she had met Malia Obama at the Sundance Film Festival last year, where “Grace” was screened.
While there’s no confirmed suggestion that Malia saw the film or intended to imitate it, the connection has left many observers raising eyebrows and wondering just how much inspiration Obama may have absorbed.
The accusation has opened up a broader cultural debate. Critics and fans alike are now questioning whether Malia Obama—whose creative credentials include a writing role on Donald Glover’s “Swarm”—was selected for her skills or her surname. Harris puts it bluntly: “It speaks to a larger issue of brands not supporting independent artists and opting for folks who already have name recognition, which doesn’t breed innovative films or original storytelling.”
As the conversation unfolds, neither Nike nor Obama has issued a public response to the accusations. But one thing’s for sure: in an era where visibility often trumps originality, Natalie Jasmine Harris just made sure her voice—and her art—won’t be ignored.
