“First, Not the Last”

The significance of their selection is not lost on Harrell either, who does not view the achievement as an individual breakthrough.

“I stand on the shoulders of giants who really paved the way and struggled and worked hard to not only teach me, but to make enough progress in the landscape so that this opportunity was even a possibility for me,” Harrell said. “Hopefully, this can be a watershed moment for other HBCU filmmakers to get the recognition they deserve. First, not the last.”

Harrell did not plan to pursue the competition when he first learned of it through professors Srikanth Nandigama and Shom Shamapande. That changed after a call from Gupta.

“One day I got a call from Aditya and he was like, ‘Bro. I need you on this,’” Harrell recalled. “Because that’s my boy, that’s all I needed to hear. I dived headfirst into the project and put my entire being into it.”

At the heart of “The Usual” is a deceptively simple idea inspired by Harrell’s own upbringing: the movies as a gathering place, ritual space, and site of everyday intimacy.

“The central idea is that the theaters can unite us into a community where we can share these deeply intimate moments together,” Harrell said. “I remember being a kid going to the movies every weekend with my grandparents and seeing how it brought us, them, and the community together.”

That emotional specificity, Harrell said, made the concept feel right for both Coca-Cola and Howard. Katie Pryor, program manager and producer for Coca-Cola Refreshing Films, said that level of authenticity is precisely why Howard’s submission stood out.

“It’s a deeply personal piece drawn from Avery’s own connection to the movie-going experience, and that authenticity really stood out in writing,” Pryor said. “The story captured something universally relatable while still feeling specific and grounded.”

She noted that Howard’s emergence as the first HBCU finalist is meaningful not only for the program but for the broader industry.

“The Coca-Cola Refreshing Films program has always strived to elevate diverse voices, which is why it’s so important to have a variety of programs participating,” Pryor said. “It’s about continuing to expand who has access to opportunities like this and who gets to shape the stories brands tell.”

That spirit of collaboration and access is also how Gupta describes his experience producing the project.

“It meant a lot to be part of something like this,” he said. “It reflects how the landscape of film is growing and becoming more inclusive, but it also shows the kind of talent that exists at Howard. Being part of that moment feels bigger than just the project.”

The central idea is that the theaters can unite us into a community where we can share these deeply intimate moments together.

Pressure, Purpose, and the Power of Community

Gupta said Howard shaped the way he led by teaching him how to trust collaborators and build with intention.

“Howard really shaped how I collaborate and trust the people around me,” he explained. “Being in that environment teaches you to lead while also listening, and that played a huge role in how I approached this project.”

He also acknowledged that the Coca-Cola affiliation upped the ante.

“It definitely felt more real,” Gupta said. “The scale, the expectations, and the fact that it’s tied to a global brand added pressure, but in a good way. It made me more focused and intentional with every decision.”

Harrell echoed that point, framing the pressure as an opportunity rather than a burden.

“We’ve been doing meaningful story-driven work at the highest level of quality,” he said. “This was just a platform to display it to a wider audience and get eyes on what we’ve been doing. As far as Coca-Cola adding pressure, it definitely raised the stakes, but that just gave us an opportunity to rise to the occasion.”

Just as important as the finished product, both emphasized what the process says about Howard’s creative ecosystem. Harrell described a culture where collaborations begin almost accidentally and then deepen over years of making work together. Gupta called his partnership with Harrell a reflection of the wider Howard community, where “everyone brought something valuable to the table.”

Pryor saw that same communal spirit from the outside.

“It was incredible to see the community rally around Avery and Adi’s film — the crew itself included current students, graduates, and alumni, which speaks to the pride and connection within the Howard community,” she said. “We hope their work inspires others to see themselves in this space and feel empowered to tell their own stories.”

Harrell and Gupta will soon travel to CinemaCon 2026 for a special screening and meetings with studio executives. As finalists, their production is under consideration for the Red Ribbon Panel Grand Prize, which includes screening at AMC Theatres, as well as the Audience Award, where members of the public vote for their favorite film. The winning selection will receive nationwide theatrical distribution through program exhibition partners AMC Theatres, Cinemark, and B&B Theatres.

Beginning April 20, the public will be able to vote for the Cinemark Fan Favorite Award, with polling open through May 10. For Howard, it is another chance for the Bison community to show up for a project that has already made institutional history.

For Harrell, the message behind the moment is clear.

“What our presence in the Refreshing Films program says about the future of HBCU filmmakers is that we’re here,” he said. “We’ve been here, and we have no plans of going anywhere.”