Not much is known about the film industry in Tanzania. But it does exist. The biggest film industries on the continent, South Africa’s and Nigeria’s, may cast their long shadows with their festivals and films, but there is something brewing in East Africa.
In much the same way as Nigeria has Nollywood as its nickname, Tanzanian films also have a nickname, Bongo movies. And the country does have at least, one reasonably known film festival named the Zanzibar International Film Festival.
Popularly known as ZIFF, it held its 27th edition this year and screened a number of films. It also gave out awards, Jessica Mtoi winning a Best Actress award for her role in The Midnight Bride, a film currently available on Showmax.
That film’s story is credited to Doreen Kilimbe, who is also one of its producers. Kilimbe is a graduate of the Multichoice Talent Factory, a programme that is increasingly important to a slew of aspiring filmmakers across the continent.
It is perhaps no longer the case that Kilimbe can be considered an aspiring filmmaker, given that she has made a feature film, and that film has won a national award subsequently. But as she tells Film Efiko, there is a lot that needs to be done to bring her country’s cinema to the level of the West African and Southern African giants.
We had a short interview during the Cannes Film Festival in May. And, over email when she returned home, concluded the conversation that started at the Cote d’Azur. Our interview has been edited lightly.
Congratulations on The Midnight Bride’s win at ZIFF. Did you suspect you were going to win before the announcement was made?
Thank you. We were hoping it would win something, especially as it’s a project that has received multiple recognition across the region. We won Best International Film at the Kalasha Awards [in Kenya] and Best East African Film at the Uganda Film Festival. Thankfully, our lead actress, Jesca Mtoi, won Best Actress in Tanzania at ZIFF.
What was the inspiration behind the story?
The concept was heavily inspired by a short film shown in class by our facilitator, Tunde Kelani (TK) from Nigeria. It was initially conceived as a graduation project in 2022, during my time at the Multichoice Talent Factory, though it wasn’t selected for production. I was determined to see it come to life, so I continued to develop it.
The short film that we saw in class was about the sheet ceremony, where the groom refused to marry the bride because she wasn’t a virgin. That was the spark for my story. And the decision to incorporate twins into the narrative was influenced by my love for a 2000s Bongo movie titled The Lost Twins.
I imagined creating a story with similar elements but with my own unique twist.
How did you finance the film?
I pitched the project to Mnet’s East African channel, Maisha Magic Movies. They loved the idea and funded the entire project. It is now on Showmax.
We met at the Cannes Film Festival, which you attended under a programme. What was the programme about and what was your experience like?
I was at the Cannes Film Festival as a producer under the DEENTAL-ACP programme. The initiative was launched in July 2020 with financial support from the European Union and the Organisation of African, Caribbean, and Pacific States (OACPS). It was created to support projects from and audio-visual capacity-building in ACP countries. DEENTAL means “together” in Fulani.
It was an honour to be part of the experience. I had the opportunity to learn a great deal and connect with some incredible people.
The experience also highlighted the gaps in the Tanzanian film industry. On my first day at the DEENTAL round table, I realised that 90 percent of the participants—10 percent were African—had no idea where Tanzania is. I had to mention that it’s near Kenya! It was clear that there are many growth opportunities out there that Tanzanian filmmakers are often unaware of.
At times, it was challenging to convince others to consider partnerships because there are very few works from Tanzania that have reached the market outside of my country.
But looking ahead, I’m excited about the possibility of returning to the Cannes Film Festival with a film in the lineup. Here comes Doreen the dreamer. [Laughs]
I’ll be rooting for you. So, what is the Tanzanian film industry like?
Most of us make films for the local market; very few have taken the initiative to attempt to tap into the international market.
But there is some growth. We see many educational institutions adding film as part of their courses. This means that soon we will have a lot of filmmakers who are professionally trained and are capable of making films that can cross borders.
Films like Binti and Vuta N’kuvute (Tug of War) have penetrated the global market and won multiple awards. So, there is a clear need for Tanzanian stories, especially if they are meet international standards.
What would you say needs to happen for Tanzanian cinema to become more like the African powerhouses South Africa and Nigeria?
I think we need more institutions to start teaching film. Our government needs to lay the foundation for co-production treaties with other countries. This will encourage cross-country knowledge and skills sharing. Our filmmakers need to invest in attending international film markets and festivals to learn and to introduce Tanzanian cinema to the world.
We have seen growth in the quality of Tanzanian work. We now need more investment and more professionals who can help with film sales and distribution.
What about production? Producers across the continent complain about the difficulty of raising money for projects. Does that match your experience?
My experience reflects that reality. I believe part of the struggle comes from not fully understanding film as a business, which leads to relying on a limited set of funding strategies. I’ve been on a journey to deepen my understanding of the business side of filmmaking.
I participated in the Great Lakes Creative Producers Lab and the DFMI Business Lab, which gave me an insight into approaching film production as a business. I’m currently applying these lessons to my current project, and I can’t emphasize enough the importance of merging creative skills with a business mindset. It is necessary, if my fellow producers are to navigate the financial landscape of our industry.
It’s always an honour to win an award but it sometimes comes with pressure. Do you feel that pressure?
The pressure is definitely there. The Midnight Bride was the first film I produced, and it now feels like a benchmark for my future projects. I have to remind myself that each project is unique. But while the expectations may be high, I believe I can rise to the challenge and create something exceptional again.
Recently, a statement from a group called the East African Collective said a few things about filmmaking in the region and western involvement. As an East African yourself, what has been your experience with work funded by western institutions?
I haven’t had the opportunity to work directly with projects funded by the West. But I’ve observed both the benefits and challenges faced by other filmmakers in the region.
Western involvement in filmmaking can bring much-needed resources and global visibility, but it can also lead to tensions around creative control and cultural representation. It’s important for us to ensure our stories and perspectives are respected and not overshadowed.
Do you think there can be a national alternative to western sponsorship in East Africa? Is there a chance that, for example, the Tanzanian government will provide some funding for its national cinema?
There have been initiatives mentioned by the Tanzanian government to support filmmakers, but so far, they have largely remained unfulfilled promises. The government did provide loans to some filmmakers recently, but the criteria were unclear.
But considering the current landscape of the Tanzanian film industry, loans may not be the most suitable option. The government should offer grants instead. This will allow filmmakers to create quality work, build trust in the local market, and eventually generate profit from their productions.
East Africa can sometimes come across as a region significantly involved in NGO cinema, that is, films on social issues and activism. What needs to change for other kinds of cinema to thrive?
The challenges in funding forces most filmmakers to make NGO-agenda films to qualify for different funds. If governments in the region would offer grants or other incentives to filmmakers, then filmmakers would be able to explore other avenues.
Also, Tanzania has restrictive laws and policy concerning some stories that filmmakers would like to tell. For example, we can’t tell stories about the government. We can’t tell stories about religion and violence. Hence most of our stories are romantic dramas and so on. Reviewing and revising some of those laws could open up a wider array of stories.
Post-Midnight Bride, what is next Doreen Kilimbe?
With the experience I’ve gained from The Midnight Bride, I’m eager to explore genres that are not yet widely explored in the Tanzanian film industry. I am currently developing a mystery mini-series. I am also venturing into the realm of fantasy. Altogether, I’m excited to push Tanzania’s creative boundaries and bring fresh narratives to the screen.
