Music is a blessing, but maybe it can also be a curse – especially if you are a famous musician who gets remembered mostly for drugs and other negative narratives. Too Much Music, one of the works-in-progress showcased at the 2026 edition of Open Doors, the Locarno Film Festival‘s co-production platform and talent development program for filmmakers from equity-seeking communities and regions where artistic expression is at risk, wants to explore all these issues.

It comes from director Aseye Fiagbe (short The Gentleman, episode 7 of Bad Mama) and puts a spotlight on a famous keyboardist from Ghana, Kiki Gyan.

The director is also the producer of the doc via her Aseye Fiagbe Creative Studio in Ghana. She presented the project during the second edition of Open Doors with a focus on films from Africa and won one of three Open Doors Grants.

THR has compiled highlights about the movie and insight from Fiagbe about the project and the themes it explores.

Synopsis
Too Much Music is a feature documentary about Kiki Gyan, a Ghanaian keyboard prodigy who rose to international fame as a teenager with Afro-rock pioneers Osibisa. As his musical contributions expanded without recognition, tensions around credit and ownership led him to leave the band and pursue a solo career across London, Lagos and New York, shaping African disco and funk in the process.

Over time, the same system that profited from his brilliance proved indifferent to his vulnerability, and his life became reduced to a singular narrative of addiction and demise. Through archival material and testimonies from family and collaborators, the film reconstructs the forces that shaped his journey and asks how artists are remembered, who controls their stories, and what is lost when brilliance is reframed as failure.

Director’s note
Music is a blessing, and Kiki Gyan had that gift in abundance. His music is joyful, infectious, technically brilliant, and yet his life story often overshadows the work itself. Many people know how he died long before they encounter the music he made. That imbalance is what pulled me into this film. I grew up with Osibisa as the soundtrack of Sunday afternoons in my home. Years later, I discovered Kiki’s solo work and realized how much of his brilliance had been hidden behind a simplified story of addiction and death. 

Too Much Music is not about rescuing him or forcing his life into a neat redemption arc. I am interested in complexity: holding brilliance, failure, joy, exploitation, vulnerability, and legacy in the same frame. As a Ghanaian filmmaker, I see this film as part of a larger responsibility to document our cultural history with care. Kiki’s story is about memory and erasure, about who gets remembered for their work and who is remembered only for how they fell.

What was the inspiration for you to want to make this film?
I grew up with Osibisa as part of the soundtrack of life in Ghana, but the story I knew about Kiki Gyan was basically the story of how he died. He was a brilliant prodigy who became addicted to drugs, lost everything and died in a church bathroom. That was the story.

Then, as an adult, I started discovering how much music he had actually made and how little of it I knew. I realized that, like many other Ghanaians, I knew the ending of his life before I really knew the work. That bothered me, and the more I researched him, the more complicated, colorful and human the story became.

How universal are the themes of the film, and why should people outside Mozambique see it?
For me, the film is ultimately about memory and who gets reduced to what. We do this all the time. A whole person can become one mistake, one tragedy, one headline. Kiki’s story happens within a very particular Ghanaian and African music history, but the questions underneath it feel universal.

What happens when talent arrives before someone is ready for everything that comes with it? Who gets credit for creative work? How do we treat people when they fall from the pedestal we put them on? And who gets to decide what remains of someone after they are gone? I don’t think you need to know Kiki Gyan or Osibisa to recognize those questions.

What is the next step for you and your collaborators after Open Doors?
Open Doors gave the project a real push forward, through the conversations we had, the connections forged and the award, which gives us so much room to continue the development work. The writing and research are still ongoing, particularly around London, Lagos and the U.S., and we are continuing our archival research while building the international production structure around the film. A big focus now is following up with the producers, financiers and other partners I met in Locarno and finding the right co-production relationships. We came to Locarno with a Ghanaian film looking for the right international collaborators. I left feeling much clearer about what those relationships should actually look like.

The happiest place on earth just got more global. At the D23’s Saturday Parks Panel, host Neil Patrick Harris gave way to several Walt Disney Imagineers who shared the next steps in the mouse house’s billion-dollar expansion.
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In the U.S., executives and creative designers showed off a sneak peek of upcoming West Coast attractions at Disney California Adventure. Coming to Avengers Campus to join the likes of Guardians of the Galaxy – Mission: Breakout! and Web Slingers: A Spider-Man Adventure are two new attractions. The first is a flight-spinning ride called Stark Flight Lab, which will see guests take on training trips from returning Avengers cast members Robert Downey Jr., Anthony Mackie and Brie Larson. The second big-ticket attraction will be Avengers Infinity Defense, a ride that puts the fight against Thanos in the hands of park visitors. As they enter, riders will receive special mission orders from Ms. Marvel (featuring a role reprisal from Iman Vellani) and team up with Avengers and their returning actors, Hawkeye (Jeremy Renner), Captain America (Mackie), Thor (Chris Hemsworth) and Iron Man (Downey Jr.). Both attractions will open in 2028.

The Hollywood Creative Alliance has named this year’s best in television with the 6th Astra TV Awards.

On Saturday, host Lisa Ann Walter presided over the awards show at the InterContinental in Los Angeles, where HBO’s The Pitt was the big winner of the evening with seven trophies, followed by Netflix’s Beef with five, and HBO Max’s Hacks and Apple TV’s Shrinking with four each.

The Pitt took home the Drama Series award, while Hacks won Comedy Series and Beef took home the Limited Series award. Jean Smart, Jason Segel, Hannah Einbinder and Harrison Ford were recognized in the Comedy Series Acting categories, with Noah Wyle, Keri Russell, Patrick Ball and Sepideh Moafi taking the Drama Series Acting awards.

Matt Weiss, EVP of the Astra Awards, said in a statement, “Tonight’s winners represent the extraordinary range of talent and storytelling that continues to make television such a powerful medium. From established icons to exciting new voices, we’re proud to celebrate the artists and creative teams whose work has entertained, surprised and connected with audiences over the past year.”

See all the winners of the 2026 Astra TV Awards below.

COMEDY SERIES
Hacks (HBO Max) 

BROADCAST NETWORK COMEDY ENSEMBLE
St. Denis Medical (NBC)

CABLE COMEDY ENSEMBLE
Rooster (HBO) 

STREAMING COMEDY ENSEMBLE
Shrinking (Apple TV)

 ACTRESS IN A COMEDY SERIES
Jean Smart – Hacks (HBO Max) 

ACTOR IN A COMEDY SERIES
Jason Segel – Shrinking (Apple TV) 

SUPPORTING ACTOR IN A COMEDY SERIES
Harrison Ford – Shrinking (Apple TV) 

SUPPORTING ACTRESS IN A COMEDY SERIES
Hannah Einbinder – Hacks (HBO Max) 

GUEST ACTRESS IN A COMEDY SERIES
Christina Ricci – Wednesday (Netflix) 

GUEST ACTOR IN A COMEDY SERIES
Michael J. Fox – Shrinking (Apple TV) 

DIRECTING IN A COMEDY SERIES
Hacks (HBO Max) 

WRITING IN A COMEDY SERIES
The Comeback (HBO) 

DRAMA SERIES
The Pitt (HBO Max)

BROADCAST NETWORK DRAMA ENSEMBLE
9-1-1 (ABC) 

CABLE DRAMA ENSEMBLE
It: Welcome to Derry (HBO)

STREAMING DRAMA ENSEMBLE
The Pitt (HBO Max)

ACTOR IN A DRAMA SERIES
Noah Wyle – The Pitt (HBO Max) 

ACTRESS IN A DRAMA SERIES
Keri Russell – The Diplomat (Netflix) 

SUPPORTING ACTOR IN A DRAMA SERIES
Patrick Ball – The Pitt (HBO Max) 

SUPPORTING ACTRESS IN A DRAMA SERIES
Sepideh Moafi – The Pitt (HBO Max)

GUEST ACTOR IN A DRAMA SERIES
Macaulay Culkin – Fallout (Prime Video)

GUEST ACTRESS IN A DRAMA SERIES
Tal Anderson – The Pitt (HBO Max)

DIRECTING IN A DRAMA SERIES
The Pitt – “12:00 P.M.” – Directed by Noah Wyle (HBO Max)

WRITING IN A DRAMA SERIES
Pluribus – “We Is Us” – Written by Vince Gilligan (Apple TV) 

LIMITED SERIES
Beef (Netflix)  

TV MOVIE
Remarkably Bright Creatures (Netflix) 

LIMITED SERIES OR TV MOVIE CAST ENSEMBLE
Beef (Netflix) 

ACTRESS IN A LIMITED SERIES OR TV MOVIE
Sally Field – Remarkably Bright Creatures (Netflix) 

ACTOR IN A LIMITED SERIES OR TV MOVIE
Oscar Isaac – Beef (Netflix) 

SUPPORTING ACTRESS IN A LIMITED SERIES OR TV MOVIE
Linda Cardellini – DTF St. Louis (HBO)

SUPPORTING ACTOR IN A LIMITED SERIES OR TV MOVIE
Charles Melton – Beef (Netflix) 

DIRECTING IN A LIMITED SERIES OR TV MOVIE
Beef (Netflix) 

WRITING IN LIMITED SERIES OR TV MOVIE
Bait (Prime Video) 

ANIMATED SERIES
Hazbin Hotel (Prime Video) 

ANIME SERIES
Witch Hat Atelier (Crunchyroll)

LEAD VOICE-OVER PERFORMANCE
Seth MacFarlane – Ted (Peacock)

SUPPORTING VOICE-OVER PERFORMANCE
Stephanie Beatriz – Hazbin Hotel (Prime Video)

BOOK TO SCREEN
The Summer I Turned Pretty (Prime Video) 

GAME SHOW
Pop Culture Jeopardy (Netflix) 

REALITY SERIES
Baylen Out Loud (TLC)

REALITY COMPETITION SERIES
Dancing with the Stars (ABC)

DOCUSERIES OR NONFICTION SERIES
Lost Women of Alaska (ID) 

DOCUMENTARY TV MOVIE
John Candy: I Like Me (Prime Video) 

STANDUP OR VARIETY SPECIAL
The Muppet Show (ABC) 

TALK OR VARIETY SERIES
The Late Show with Stephen Colbert (CBS)