Before Mozambique’s filmmakers could tell their own stories, cinema arrived as a language of empire. In the early 1900s, projectors flickered in Lourenço Marques — today’s Maputo — showing European newsreels and colonial propaganda. For settlers, these images confirmed the order of empire; for Mozambicans, they revealed a world where they were spectators rather than storytellers.

This episode explores how cinema took root in Mozambique during the colonial period:

• 🎥 How the first projection halls became symbols of modernity and control.

• 🏛️ How Portuguese administrators used film as a civilizing tool and propaganda weapon.

• 🗣️ How Mozambicans experienced and reinterpreted those images — from makeshift screenings in courtyards to projectionists learning the craft behind the screen.

• 📜 And how, in the margins of colonial cinema, the first seeds of resistance and creativity began to grow.

By 1975, as independence neared, Mozambique inherited more than empty cinemas — it inherited the machinery of storytelling. What had been a colonial instrument was about to become a revolutionary one.

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Namibia’s film journey runs from colonial screens to today’s vibrant, independent voice. This week we trace more than a century of change, showing how cinema moved from outside perspectives to Indigenous storytelling and local creators shaping the industry.

The future of Namibian cinema looks promising despite challenges. Emerging filmmakers are embracing new technologies and storytelling approaches. There’s growing interest in preserving Indigenous stories and pursuing international co-productions.

The Namibia Film Commission continues supporting local talent through grants and training programs, while the Windhoek Film Festival cements Namibia as a regional hub. As commercial viability remains a hurdle,increasing production quality and regional links point to a positive path forward.

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Tanzanian cinema, often called Swahiliwood or Bongowood, has a story as dramatic as the films themselves. From colonial mobile trucks showing British propaganda, to Ujamaa’s government-funded productions, to the explosive growth of Bongo movies on DVD, and today’s internationally recognized films like Vuta N’Kuvute, Tanzanian cinema reflects the country’s political shifts, cultural creativity, and resilience.

In this episode, we explore:

• 📽️ How colonial powers used film for propaganda while Tanzanians had little chance to tell their own stories.

• 🌍 Julius Nyerere’s Ujamaa socialism and how the Tanzania Film Corporation shaped cinema as a nation-building tool.

• 💿 The rise of video technology and the Bongo movie explosion in the 2000s, with stars like Steven Kanumba and Elizabeth Michael.

• 🏆 Tanzania’s path to the Oscars with Maangamizi: The Ancient One and Vuta N’Kuvute.

• 🎥 The future of Swahili cinema in the age of Netflix, YouTube, and ZIFF (Zanzibar International Film Festival).

✨ Tanzanian cinema is more than entertainment — it’s a mirror of social change, economic struggle, and creative persistence.

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This Week, We Took an Incredible Journey…
…through over 100 years of Ugandan history — from colonial silence to grassroots creativity, from the terror of Idi Amin’s regime to Wakaliwood’s viral rise, and from the birth of “Kinna-Uganda” to Netflix premieres. It’s a story that shows how cinema can survive even after decades of suppression.

The Big Picture: Cinema Out of Silence

For much of the 20th century, Uganda had no cinema of its own. Colonial films portrayed Africans as subjects, not storytellers. When independence came in 1962, many thought a new cultural wave would follow. Instead, dictatorship and war silenced filmmakers for decades.

But when conditions allowed, Uganda’s storytellers returned with incredible energy.

The Early Spark: Kinna-Uganda (2005–2010)

The breakthrough came in 2005 with Hajji Ashraf Ssemwogerere’s Feelings Struggle, the first film made by Ugandans for Ugandans. Others soon followed — Cindy Magara’s Fate, Donald Mugisha’s Divizionz, and Matt Bish’s Battle of the Souls. These films spoke in local languages and told stories that reflected ordinary Ugandan life.

The Global Phenomenon: Wakaliwood (2010–2015)

Then came Isaac Nabwana IGG and his team from a Kampala slum. With just $85, they made Who Killed Captain Alex?, a wild action film that went viral on YouTube. Wakaliwood’s DIY style, “video joker” commentary, and sheer creativity earned worldwide fame, showing the world Uganda could make unforgettable cinema with almost nothing.

Modern Success: From Festivals to Netflix (2015–Present)

Recent years have seen Uganda enter the global mainstream. Loukman Ali’s The Girl in the Yellow Jumper became Uganda’s first Netflix release in 2020. Morris Mugisha’s Tembele became the country’s first Oscar submission in 2022. Festivals and training programs now nurture new voices, and Ugandan cinema stands on the edge of a true renaissance.

Major Players: How Institutions Built the Industry

• Uganda Communications Commission (UCC): Runs the Uganda Film Festival, provides grants.

• Pearl International Film Festival: Since 2011, a hub for local talent.

• Maisha Film Lab: Founded by Mira Nair in 2004, training young filmmakers.

• Pearlwood: Umbrella association uniting Ugandan filmmakers.

In this episode, we trace the powerful evolution of South African cinema from the dawn of democracy in 1994 to today’s digital streaming era. From Oscar wins to streaming wars, we explore how South Africa’s film industry has transformed its stories, funding models, institutions, and reach. Through case studies like Tsotsi, District 9, and Inxeba, we unpack the industry’s greatest challenges—and its most triumphant breakthroughs.

🔍 What You'll Learn:

• How post-apartheid freedom opened new storytelling possibilities

• Why Afrikaans and indigenous language cinema redefined the industry

• The impact of state funding and private investment (NFVF, MultiChoice, Netflix)

• The rise of streaming and digital production

• How institutions like SABC, Ster-Kinekor, and Showmax shaped the new era

In this episode of The African Cinema Podcast, we explore how South African cinema evolved under the shadow of apartheid — from state-sponsored propaganda to underground resistance films.

From the rise of strict censorship in the 1960s to the emergence of anti-apartheid films like Mapantsula and Sarafina!, this episode unpacks how filmmakers used the screen as a battlefield for truth, survival, and freedom.

Whether it was through coded critique, smuggled scripts, or global co-productions, cinema during apartheid was never neutral — it was either complicit or courageous.

🎬 In This Episode, You'll Learn:

• How apartheid policies shaped film production and censorship

• The role of the Publications Control Board in banning and editing films

• How state-backed institutions like SANLAM and SABC controlled media narratives

• The emergence of the B-scheme film system and its limitations

• Key figures like Jans Rautenbach, Simon Sabela, Anant Singh, and Oliver Schmitz

• Why Mapantsula and Place of Weeping became turning points in South African film history

• Jans Rautenbach – Pioneer of Afrikaans psychological cinema

• Simon M. Sabela – First Black South African film director (U'Deliwe)

• Darrell Roodt – Director of Place of Weeping and Sarafina!

• Anant Singh – Producer of numerous anti-apartheid films

• Ster Films / Kinekor

• Publications Control Board

• SANLAM Insurance Group

• SABC (South African Broadcasting Corporation)

• Katrina (1969)

• Boesman and Lena (1973)

• U'Deliwe (1974)

• Mapantsula (1987)

🎧 Tune in and discover how cinema became a weapon of both oppression and defiance.

This week's episode takes us back to the turn of the 20th century just before the Anglo-Boer War in South Africa as the bioscope was introduced to the world South Africa was not far behind. Did you know the first film was screened in Johannesburg just one year after the Lumière brothers' debut in Paris? I didn’t either — until I found out about Carl Hertz and his “bioscope” showcase in 1896.

In this episode, we dive into:

• 🎥 How South Africa became one of the earliest adopters of cinema in the world
• 🧠 The powerful rise of Isidore Schlesinger and African Film Productions
• 📽️ Why De Voortrekkers (1916) became more than just a film — but a cultural ritual
• 📢 How film was used for nationalism, propaganda, and even censorship
• 🌍 The unexpected global links to Hollywood and the British Empire

This era — from 1895 to 1947 — shows how cinema in South Africa was never just about entertainment. It was always about identity, power, and the stories that shaped the nation.

Quote of the Episode:
“De Voortrekkers wasn’t just South Africa’s first epic — it became a ritual film for the descendants of the Great Trek.”

📩 Got a thought or question about today’s episode? Just hit reply. I read everything.

Thank you for listening!

In this episode of The African Cinema Podcast, we journey through over a century of Moroccan cinema — from colonial-era propaganda to a globally recognized filmmaking industry that’s breaking taboos and pushing boundaries.

We explore how Moroccan filmmakers have navigated colonial legacies, state censorship, international co-productions, and digital revolutions to shape one of Africa’s most dynamic cinematic landscapes. With deep dives into institutions like the Moroccan Cinematographic Center (CCM), and films like Wechma, Ali Zaoua, and The Blue Caftan, this episode uncovers how Moroccan cinema has evolved into a bold mirror of society.

🎬 What You’ll Learn:

• How colonialism shaped early film in Morocco

• The birth of “cinematic modernity” in the 1970s

• The role of the state and television in growing local film

• The rise of female directors and diaspora voices

• How Moroccan filmmakers use cinema to confront social issues

🎞️ Featured Films:

• Le chèvrier marocain (1897)

• Le fils maudit (1958)

• Wechma (1970)

• A Thousand and One Hands (1973)

• Ali Zaoua: Prince of the Streets (2000)

• A Door to the Sky (1988)

• The Blue Caftan (2022)

• Everybody Loves Touda (2023)

🎤 Notable Figures:

• Hamid Bénani

• Nabil Ayouch

• Maryam Touzani

• Farida Benlyazid

• Faouzi Bensaïdi

• Narjiss Nejjar

• Souheil Ben Barka

• Farida Bourquia

• King Mohammed VI (film patronage)

🏛️ Institutions & Events:

• Centre Cinématographique Marocain (CCM)

• RTM, 2M, Medi1 TV

• Marrakech International Film Festival

• Atlas Workshops

• Cinémathèque de Tanger

🔗 Resources & Mentions:

• CCM: https://www.ccm.ma

• Festival International du Film de Marrakech: https://marrakech-festival.com

• Learn more at [Insert your podcast site or social link]

📣 Support the Podcast:
Enjoyed this episode? Follow The African Cinema Podcast, rate us on Spotify or Apple Podcasts, and share with fellow cinephiles.

In this episode of The African Cinema Podcast, we journey through the remarkable evolution of Ghanaian cinema — from colonial screenings meant for British elites, to a post-independence cultural tool under Kwame Nkrumah, and eventually to a thriving independent video and digital film movement known as “Ghollywood.”

We spotlight the key eras, films, and voices that have shaped the industry: from The Boy Kumasenu and I Told You So, to Love Brewed in the African Pot, Keteke, and The Perfect Picture. Along the way, we meet legendary figures like Kwaw Ansah, Shirley Frimpong-Manso, King Ampaw, and Leila Djansi, and reflect on the institutions—from the Gold Coast Film Unit to NAFTI and the National Film Authority—that held the vision together.

🎬 You’ll learn about:

• The colonial roots of Ghanaian cinema (1920s–1950s)

• The nation-building film policy era (1960s–1970s)

• The rise of independent cinema and Ghollywood (1980s–present)

• The impact of key directors, producers, actors, and state institutions

• How Ghanaian cinema intersects with Nollywood and global platforms like Netflix

🎧 Perfect for listeners who love:

• African film and history

• Postcolonial and Pan-African storytelling

• Behind-the-scenes film industry insights

• Cultural policy, identity, and creative entrepreneurship

📣 Support the Show:
If you enjoyed this episode, share it with your network, subscribe to The African Cinema Podcast, and leave us a rating or review. Your support helps amplify African stories and creators around the world.

🔗 Resources & References:

• Ghana’s Ministry of Tourism, Arts & Culture: https://www.motac.gov.gh/film

• “Love Brewed in the African Pot” Review: The Broken Cliché

• NAFTI: https://nafti.edu.gh

• Ghanaian cinema history via GhanaWeb, Wikipedia, and festival archives

From propaganda films projected in remote villages to queer love stories banned at home but celebrated abroad, Kenyan cinema has had a long, complex journey. In this special episode of The African Cinema Podcast, we trace the rise of Kenyan cinema from colonial control to digital creativity — uncovering how power, technology, censorship, and storytelling have shaped Kenya’s film industry over more than a century.

This episode explores:

• The colonial-era film apparatus and its use as a propaganda machine

• The erasure and exoticization of Kenyan people in early cinema

• The slow post-independence build-up toward local production

• The game-changing rise of Riverwood and digital storytelling

• Key films and figures that have defined Kenya’s cinematic identity

• The contemporary struggles and the growing global promise of Kenyan filmmakers

If you’ve ever wondered why Kenya, with its rich culture and powerful stories, took so long to emerge on the global film stage — this is the history you need to hear.

📌 Key Topics Covered:

1. The Colonial Gaze and Cinema as Control (1909–1963)

• 1909: First film shot in Kenya documents Theodore Roosevelt’s safari

• Colonial Film Unit (CFU) and its mobile cinema vans produce “instructional” propaganda

• African stories sidelined; censorship institutionalized by the 1912 ordinance

• Hollywood arrives: Trader Horn, Men Against the Sun, and Mogambo filmed in Kenya — with zero Kenyan input

• Film as an imperial project: reinforcing British rule and racial hierarchy

2. Post-Independence Struggles and Sparks of Storytelling (1963–1990s)

• Kenya Film Corporation (KFCp) founded in 1967 to promote local production

• Feature filmmaking begins slowly: Kolor Mask (1985) and Saïkati (1992) break ground

• A mix of government short films and co-productions dominates the era

• Limited infrastructure, outdated equipment, and a lack of funding stall progress

• National identity on screen remains elusive but emerging

3. The Riverwood Revolution and Rise of the Digital Filmmaker (1990s–Today)

• Cheap VCD tech and DSLR cameras spark Riverwood: a grassroots film movement

• Hundreds of titles made in Swahili, Sheng, Kikuyu, and more — shot in under 7 days

• Distribution via matatus and DVD stalls; actors paid in DVD shares

• Riverwood gives Kenya its own low-budget but high-volume film culture

• Critics attack quality, but audiences respond — and new talent rises

4. Institutional Frameworks, Censorship, and Policy Gaps

• Kenya Film Classification Board (KFCB) and outdated colonial censorship laws still shape content

• Rafiki (2018) banned for queer themes — sparking legal and global conversation

• Kenya Film Commission (2005) and Kalasha Awards offer limited support

• Piracy, limited distribution, and lack of copyright enforcement plague growth

• Current initiatives include regional hubs, digital streaming, and school-based film training

5. Contemporary Cinema and Cultural Representation

• New wave directors: Wanuri Kahiu (Rafiki), Judy Kibinge (Something Necessary), Likarion Wainaina (Supa Modo), David Gitonga (Nairobi Half Life)

• Stories explore LGBTQ+ identity, urban poverty, Maasai traditions, and post-election trauma

• Visual storytelling is evolving: from neorealism to Afrofuturist aesthetics and genre play

• Films like Kati Kati, Veve, and From a Whisper put Kenya on international festival circuits

• Docubox, Lola Kenya Screen, and Hot Sun Foundation fuel new voices and documentary storytelling

6. What’s Next for Kenyan Cinema?

• Youth-led film collectives and content creators on the rise

• Netflix, Showmax, and YouTube shifting the distribution game

• Growing calls for a distinct “Kenyan film voice” — rooted in local languages, stories, and aesthetic choices

• Mobile filmmaking, AI dubbing, and co-productions with Nigeria, Uganda, and South Africa point to a bold, diverse future

• Kenya’s cinematic potential lies in its ability to balance commercial viability with cultural truth-telling