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• Limited infrastructure, outdated equipment, and a lack of funding stall progress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

In the 1980s, Senegalese cinema was brought to its knees. Austerity measures gutted funding, theatres closed, and filmmakers were left with little support. And yet—the stories didn’t stop.

In Part 2 of our Senegal series, we explore how cinema in Senegal endured through silence, adapted with digital tools, and re-emerged through new voices and platforms. From Sembène’s final masterpieces to Mati Diop’s historic Cannes debut, this is the story of resistance, rebirth, and reinvention.

🎬 We examine how Camp de Thiaroye and Guelwaar extended Ousmane Sembène’s cinematic resistance into a new political decade.
📽️ We look at Safi Faye’s lyrical Mossane and her ongoing commitment to rural Senegalese stories.
🎞️ We revisit Hyènes and La Petite Vendeuse de Soleil, Djibril Diop Mambéty’s haunting final statements.
📺 We dive into the digital era—from YouTube series to streaming culture—and a new generation reclaiming the screen.

Films Mentioned

Camp de Thiaroye (1987)Sembène's dramatization of the 1944 Thiaroye massacre—unflinching in its critique of French colonialism and banned in France for years.
🎞 IMDb: https://www.imdb.com/title/tt0094792/

Guelwaar (1992)
A provocative portrait of a political activist whose death sparks a conflict over religious identity, foreign aid, and national values.
🎞 IMDb: https://www.imdb.com/title/tt0107060/

Selbé et tant d'autres (1983)
Safi Faye’s documentary chronicling the life of Selbé, a woman in rural Senegal who supports her family alone.
🎞 IMDb: https://www.imdb.com/title/tt1537275/

Mossane (1996)A coming-of-age story centered on a 14-year-old girl in a Serer village, blending beauty, tradition, and quiet rebellion.🎞 IMDb: https://www.imdb.com/title/tt0113867/

Hyènes (1992)Mambéty’s surreal adaptation of Dürrenmatt’s The Visit, critiquing consumerism and the price of justice in a corrupt society.🎞 IMDb: https://www.imdb.com/title/tt0104485/

La Petite Vendeuse de Soleil (1999)Mambéty’s final film—a short, luminous tale of a disabled girl who defies gender norms to become a newspaper seller in Dakar.🎞 IMDb: https://www.imdb.com/title/tt0201843/

Atlantics (2019)Directed by Mati Diop, this Cannes Grand Prix-winning film blends migration drama with supernatural love story, giving voice to the young and dispossessed in Dakar.🎞 IMDb: https://www.imdb.com/title/tt10403420/

Maîtresse d’un homme marié (2019– )A groundbreaking YouTube/Wolof-language series from Marodi TV exploring love, gender politics, and urban life in contemporary Senegal.🎞 IMDb: https://www.imdb.com/title/tt11247994/

Emerging Voices & Institutions

• Mati Diop – First Black woman to compete at Cannes; creator of Atlantics

• Angèle Diabang – Director of Congo, un médecin pour sauver les femmes and several short films on identity and womanhood

• Moussa Touré – Known for La Pirogue (2012), focused on migration and human rights

• Alassane Sy – Director of Marabout (2016) and advocate for queer and marginalized narratives

• Kourtrajmé Dakar – Film school founded in 2022 to train a new generation of Senegalese filmmakers

• Complexe Cinématographique Ousmane Sembène – Reopened in 2018 to restore cinema-going culture in Dakar

🎥 Emerging Voices & Institutions

From colonial bans to a cinematic renaissance, Part 1 of our two-part Senegal series (1934–1980) traces how filmmakers defied repression to forge Africa’s first film language.

What happens when your art is forbidden—and you insist on telling your story anyway?

🎬 We examine Paulin Vieyra’s Afrique-sur-Seine (1955), shot in Paris against the 1934 Laval Decree.
📽️ We trace Ousmane Sembène’s transition from novelist to filmmaker in Borom Sarret (1963) and Black Girl (1966).
🎞️ We spotlight Djibril Diop Mambéty’s kinetic shorts Contras’ City (1969) & Badou Boy (1970) leading to the surreal road-movie Touki Bouki (1973).
💡 We explore Safi Faye’s vérité poetics in Kaddu Beykat (1975), banned at home but celebrated abroad.

🟢 Listen on Spotify, Apple Podcasts, or YouTube

🎬 Films Mentioned

• Afrique-sur-Seine (1955): West African students in Paris confront identity and prejudice in this 21-minute defiance of colonial censorship.
  IMDb: https://www.imdb.com/title/tt1705824/

• Borom Sarret (1963): An 18-minute realist drama of a Dakar cart driver’s daily humiliations; often called the first true African film.
  IMDb: https://www.imdb.com/title/tt0060183/

• Black Girl (1966): The first sub-Saharan fiction feature by a Black director, it follows a Senegalese maid’s alienation in France.
  IMDb: https://www.imdb.com/title/tt0060758/

• Mandabi (1968): A Wolof-language satire about an illiterate man’s struggle to cash a money order, skewering post-independence bureaucracy.
  IMDb: https://www.imdb.com/title/tt0063049/

• Emitai (1971): A Diola-and-French epic depicting villagers’ resistance to Vichy France’s World War II conscription.
  IMDb: https://www.imdb.com/title/tt0067368/

• Contras’ City (1969): Mambéty’s debut short: a restless portrait of urban dislocation in Dakar.
  IMDb: N/A

• Badou Boy (1970): A slapstick-laden chase short critiquing social inequality through a petty thief’s flight across Dakar.
  IMDb: https://www.imdb.com/title/tt0181352/

• Touki Bouki (1973): A surreal road-movie of lovers dreaming of Paris, using frenetic editing to capture postcolonial disillusionment.
  IMDb: https://www.imdb.com/title/tt0070975/

• La Passante (1972): Faye’s debut short observing a young woman navigating Dakar’s marketplaces.
  IMDb: N/A

• Revanche (1973): A contemplative short by Faye on rural justice and personal vengeance in her Serer village.
  IMDb: N/A

• Kaddu Beykat (1975): A vérité-style critique of agricultural policies in a Serer village; banned locally, it won Cannes’s FIPRESCI Prize.
  IMDb: https://www.imdb.com/title/tt0073659/

• Xala (1975): Sembène’s satire of post-independence elites, where a businessman’s impotence becomes political allegory.
  IMDb: https://www.imdb.com/title/tt0073871/

• Ceddo (1977): A precolonial allegory of cultural resistance as non-Muslims oppose forced religious conversion.
  IMDb: https://www.imdb.com/title/tt0076468/

• Fad’jal (1979): Faye’s homage to her Serer roots, preserving oral histories through villagers’ storytelling.
  IMDb: N/A

Next Up (Part 2): We dive into the 1980s—when austerity shuttered Dakar’s cinemas, yet visionaries like Sembène and Faye refused to be silenced, and digital tools sparked a vibrant resurgence.

The final installment of our Egyptian cinema series dives into a 25-year stretch of transformation, turbulence, and tenacity.

From digital disruption and revolution to censorship, economic collapse, and global streaming deals, this episode follows the rise of a new kind of filmmaker — one who builds with less, dreams bigger, and survives on grit.

🎬 Featuring:

• The making of The Yacoubian Building and The Square

• The impact of Netflix and Shahid on local production

• The collapse of box office revenue post-2023

• Why directors like Ayten Amin and Amr Salama matter more than ever

• And the new frontier of indie Egyptian cinema

🎧 Available now on Spotify, Apple Podcasts, and YouTube

Egypt’s golden studio era is often remembered for its glamour, control, and orchestral soundtracks. But what happened after the lights dimmed? What became of an industry once hailed as the beating heart of Arab cinema?

This episode of Projector Dreams is a story of survival.

Spanning from the height of state nationalism in the 1960s to the experimental indie spirit of the 1990s, we track how Egyptian cinema weathered four decades of political shakeups, economic reform, censorship, and cultural reinvention.

🎬 In the 1960s, cinema was a weapon of the state.
🎬 In the 1970s, it became a battlefield for memory, law, and identity.
🎬 In the 1980s, it transformed into a gritty mirror for ordinary lives.
🎬 And in the 1990s, it reached outward—toward the world stage.

Through the voices of directors like Atef El-Tayeb, Daoud Abdel-Sayed, Inas al-Dughaydi, Radwan El-Kashef, and Yousry Nasrallah, we witness a new generation of storytellers rising—armed with realism, resistance, and relentless creativity.

From I Want a Solution to Kit Kat, from feminism to urban decay, this episode explores how film held a mirror to a nation in flux. It's about women taking control of the narrative, artists pushing past censorship, and filmmakers dreaming across borders.

We go beyond the surface—into the politics, the poetry, and the pain that made these films more than entertainment. They were resistance. They were reflection. They were raw truth on celluloid.

What You Will Hear

• The fall of Nasser-era cinematic idealism and the rise of Sadat’s infitah years

• How filmmakers rewrote (or resisted rewriting) Egypt’s revolutionary past

• The rise of feminist narratives and courtroom dramas in the 1970s

• A breakdown of New Realism in the 1980s and how it redefined cinema

• The 1990s wave of international co-productions, artistic risk-taking, and quiet endurance

• The shifting gaze toward Cairo’s underclasses, working women, and invisible lives

• Why this period laid the foundation for the independent wave of the 2000s and beyond

Films You’ll Discover in This Episode:

We break down and analyze major works including:

• I Want a Solution (1975) — A feminist legal drama that shook Egypt’s courtrooms and audiences. IMDb

• Bus Driver (1982) — A story of betrayal, dignity, and economic despair. IMDb

• The Innocent (1986) — A chilling critique of police brutality and political violence. IMDb

• The Iron Woman (1987) — A portrait of a woman standing firm against systemic injustice. IMDb

• The Woman and the Law (1988) — One woman’s journey through Egypt’s legal labyrinth. IMDb

• The File on Samya Sha'rawi (1988) — A powerful story of female resilience. IMDb

• We Are the People of the Bus (1979) — Cairo’s streets become a stage for social tension. IMDb

• The Guilty (1976) — Corruption, class, and moral decay beneath the surface of a crime. IMDb

• Kit Kat (1991) — A blind dreamer’s poetic view of a decaying Cairo. IMDb

• Cheap Flesh (1995) — Gender, survival, and the price of freedom. IMDb

• The City (1999) — An elegy for migration and lost dreams. IMDb

• Mercedes (1995) — A surreal journey through Cairo’s alienation and wealth. IMDb

In this second episode of our Projector Dreams series, we step into the golden age of Egyptian cinema—a transformative period that turned Cairo into the cinematic capital of the Arab world. From the founding of Studio Misr to the rise of musical epics, social realism, and feminist narratives, this era wasn’t just about movies—it was about identity, politics, and cultural power.

We trace the legacy of pioneers like Umm Kulthum, Mohamed Abdel Wahab, Kamal Selim, and Youssef Chahine. We explore how women redefined their roles on-screen and how post-revolutionary Egypt used cinema as a mirror, a megaphone, and a battlefield.

📼 What You’ll Learn in This Episode:

• The nationalist vision behind Talaat Harb’s founding of Studio Misr

• Why musical cinema became a tool of cultural diplomacy

• How women like Faten Hamama and Hind Rostom reshaped gender narratives

• Why The Will (1939) signaled a turn toward realism

• How post-1952 films critiqued power through allegory

• The impact of nationalization on Egypt’s creative freedom

📢 Next Up on Projector Dreams:

We move into the turbulent 1960s and 70s—an era of political volatility, cinematic experimentation, and pan-African solidarity. Stay tuned.

Until then, keep the reels rolling.
— The African Cinema Podcast Team

🎞️ Featured Films

Weddad (1936)A wealthy merchant falls in love with his slave, Wedad, but their romance is tested by misfortune and social pressure. Umm Kulthum’s debut.IMDb

Sallama (1945)A musical melodrama set in a historical Bedouin context, starring Umm Kulthum and themed around love, loyalty, and folklore.IMDb

The Will (Al-ʿAzīma) (1939)One of Egypt’s first neorealist films. A working-class man and his partner struggle with poverty, dignity, and perseverance.IMDb

The Second Wife (Al-Zawja al-Thāniya) (1967)A young woman is coerced into marriage by a corrupt village official, exposing the abuse of power and gender inequality.IMDb

Cairo Station (Bāb al-Ḥadīd) (1958)A disturbing psychological drama set at Cairo’s train station, following a newspaper vendor's descent into obsession. Directed by Youssef Chahine.IMDb

The Land (Al-Ard) (1970)A powerful critique of feudalism and injustice in rural Egypt, depicting farmers' resistance against landlord tyranny.IMDb

The Nightingale’s Prayer (1959)Faten Hamama stars as a Bedouin woman seeking revenge after her sister’s honor killing, exploring themes of justice and retribution.IMDb

I Am Free (Ana Hurra) (1959)A feminist drama about a woman rejecting traditional marriage and societal expectations in pursuit of autonomy.IMDb

Women Without Men (1953)A film about four women who band together after rejecting oppressive relationships, forging solidarity and freedom.IMDb

The Sin (Al-Haram) (1965)A peasant woman’s tragic fate after a rape exposes rural injustice and systemic neglect. Directed by Henri Barakat.IMDb

In this first installment of our Egyptian cinema series on The African Cinema Podcast, we trace the roots of filmmaking in Egypt—starting with the arrival of the Lumière Brothers’ projector in Alexandria in 1896. This episode dives into the rise of Egypt’s first studios, the political ferment of the 1919 revolution, and the emergence of Egyptian filmmakers who shaped cinema as a cultural and national force.

Following our exploration of Nigerian cinema, this new arc expands the lens to Egypt—a country whose early cinematic journey defined film across the Arab world.

What You’ll Learn in This Episode:

• How and when cinema first arrived in Egypt

• Why Alexandria became the launchpad for moving pictures in the region

• The story of Aziz & Dorés: the Middle East’s first film studio

• Mohamed Bayoumi’s revolutionary role in shaping Egyptian cinema

• How nationalist politics and colonial resistance shaped early storytelling

• The significance of Barsoum Looking for a Job (1923)

• The rise of Aziza Amir and the making of Layla, Egypt’s first narrative feature

• The role of Talaat Harb and the founding of Misr Acting and Cinema

• How early Egyptian cinema reflected and helped shape cultural identity

This is part of our ongoing deep-dive into African cinematic histories—following our Nigerian cinema series. Here, we begin the Egyptian arc, setting the stage for the Golden Age to come.

We’ll explore the rise of Studio Misr and the 1940s–1960s golden era of Egyptian cinema, where film became not just national but continental in its influence.

💌 Stay in the Loop

If this episode resonates with you, reply and let me know your thoughts.

📣 Follow the Newsletter on LinkedIn: The African Cinema Podcast on LinkedIn

📰 Get the Newsletter in Your Email: The African Cinema Podcast Newsletter

In this episode of The African Cinema Podcast, I speak with Nigerian culture writer and researcher Ikenna Churchill about the current state and future of Nigerian cinema. From the issues plaguing distribution and cinema attendance to the undervalued richness of cultural storytelling, Ikenna brings unfiltered insight and passion to every part of our conversation.

We unpack the highs and lows of Nollywood—from its global reach to the frustrations of underappreciated local audiences, the power of original storytelling, and the future he hopes to see for the industry.

This one’s for the filmmakers, the critics, and anyone who truly loves Nigerian film.

⸻

Ikenna Churchill is a Nigerian-based culture writer, researcher, and content consultant. His work has appeared in The Guardian Nigeria, The Nollywood Reporter, West Africa Weekly, and more. He explores the intersections of storytelling, society, and culture across Africa with a sharp critical eye and editorial excellence. Currently the Managing Editor at Akpata Magazine, Ikenna also consults for brands and writers, helping shape meaningful narratives for diverse audiences.

🔗 Listen & Subscribe:

• 🎧 Spotify

• 🍎 Apple Podcasts

• 🌐 YouTube

⸻

🧠 Topics Discussed:

• Why many Nigerians don’t watch Nollywood movies

• The disconnect between cinema-quality and audience tastes

• Ikenna’s hope for more cultural storytelling

• The need for better casting processes

• How books and history can shape Nollywood’s future

⸻

📌 Key Quote:

“We are the second biggest film industry in the world, yet we don’t treat our stories with the care and dignity they deserve. Culture should be the anchor of Nollywood—not just numbers.”

In Episode 4, we dive deep into the revitalized and more cinematic era of Nigerian film—what we now call the New Nigerian Cinema Era. Our journey begins during the height of the Video Film Era in the mid-2000s with the launch of Silverbird Cinemas, which initially showcased predominantly Western films. This period marks a dramatic shift, driven by renewed investments, the return of diasporic talent, and the widespread adoption of digital technology. Filmmakers started to look back to the Golden Age for inspiration, embracing high-budget productions and more refined storytelling that not only improved production quality but also led to increased international recognition.

Key Topics Covered:

• Transition from Video Film Era:

  • How a lack of funding, piracy, and low-quality productions nearly brought the Video Film Era to an end by the late 2000s.

• Emergence of a New Vision:

  • The pivotal role of Silverbird Cinemas (launched in 2004) in signaling the beginning of a more cinematic approach.

  • The shift from VHS to digital technology, which allowed for longer production periods and higher quality films.

• Return of Diasporic Talent and Investment:

  • The impact of Nigerians returning home post-military rule (after 1999) with capital and expertise.

  • Key figures like Kunle Afolayan, whose film Irapada became the first high-budget local film to be screened at Silverbird Galleria, paving the way for a new era.

  • Other influential films such as The Amazing Grace and the role of international collaborations.

• Evolution of Distribution Channels:

  • The emergence of digital distribution platforms like IrokoTV (launched in 2011) and Netflix’s increasing investment in Nollywood.

  • How streaming platforms have expanded the reach of Nigerian films globally.

• Re-defining Nollywood:

  • The evolving definition of “Nollywood” and how it now encompasses a broader spectrum of film activities, including collaborations with Ghanaian producers and diaspora films.

  • The role of sub-industries—Igbo, Yoruba, and Hausa cinemas—in the overall structure of Nollywood.

• Challenges and Future Outlook:

  • Persistent challenges such as piracy and content management.

  • The optimistic future driven by a dynamic mix of seasoned professionals, emerging talent, and renewed financial support.

Stay updated with every new episode of The African Cinema Podcast by subscribing to the Newsletter: https://acp.nextframe.media/#/portal/

In this episode, we explore the pivotal transition of Nigerian cinema during the late 1980s and early 1990s, focusing on how the advent of affordable video technology revolutionized filmmaking in Nigeria. This period marked the birth of Nollywood, now recognized as one of the world's most prolific film industries.

Key Topics Discussed:

• Shift to Video Technology: The economic challenges and technological advancements that led Nigerian filmmakers to adopt video over traditional celluloid, democratizing film production and enabling a surge in locally produced content. ​

• "Living in Bondage" (1992): An in-depth look at this groundbreaking film by Kenneth Nnebue, which became a massive success and is often credited with launching Nollywood. We examine its themes, production journey, and lasting impact on the industry. ​AKOROKO

• Cultural Resonance: How Nollywood films have consistently reflected and influenced Nigerian society, addressing local narratives and moral themes that resonate with audiences both domestically and internationally. ​Financial Times

Resources Mentioned:

• Living in Bondage - Wikipedia​

• The History Of Nollywood: From VHS To Netflix​Nigerian Search Guide

Join us as we continue to delve into the rich tapestry of African cinema, uncovering the stories and people that have shaped its evolution.

Subscribe to The African Cinema Podcast Newsletter here!