The power of storytelling cannot be underestimated. It has both driven human progress and curated it for future generations. It has created strong bonds in communities and families and given a purpose to those who come after to carry on, and it continues to foster understanding of diverse cultures as stories find their way across the world thanks to mediums like TV and film.
I was a quiet and reserved child, but would come alive when I was telling a story. It was therefore no surprise that I was drawn to TV and film after high school, ending up in film school, and then working on various TV shows and films in the writing and production departments. The surprise came later however, when I came to realize that the film industry and in general the creative economy, wasn’t this ideal thing I had constructed in my mind.
Kenya is not a big film market as compared to western markets or even some African countries like Nigeria and South Africa. However, the country has enjoyed a long film history and made its mark in the world especially as a film location for award-winning films like Out of Africa and Constant Gardener.
The content output tends to be more TV focused though as that’s the robust part of the industry. This is thanks to a huge shift in local content consumption over the last decade that has seen every TV station commission or license original Kenyan programming, with shows like Maria and Selina becoming huge hits in the past few years.
There has also been a bigger spotlight on Kenyan film with more output from filmmakers that has seen an increase in Kenyan movies showing in cinemas and general interest in Kenyan content.
Funny enough, I would say that the controversy surrounding the Kenya Film Classification Board (KFCB) through its CEO, Ezekiel Mutua, has also aided in a lot of discussion around Kenyan film.
KFCB was established under the Films and Stage Plays Act Cap 222 of the Laws of Kenya to regulate the production, broadcasting, ownership, distribution and exhibition of film and broadcast content. There is also the Kenya Film Commission (KFC), which was established by the Government in 2005 with the aim of promoting the film industry locally as well as internationally. There’s debate on whether the two bodies are doing as much as they can to grow the industry, but there is no doubt that the industry has been steadily growing.
My own experience when it comes to exploitation pushed me to take a break from the TV and film industry for five years and I’m only now trying to get back to it. The main issues were payment of dues with some employers owing me money for months on end, making it impossible to pay bills and sustain myself. I still have production houses that owe me pay from years ago that I’m pretty sure I will never see. There was no recourse as the creative economy operates outside of the structures of other workplaces so there’s no HR and getting things like loans and other financial aid was impossible. This coupled with the frustration of working long hours and not being duly compensated, pushed me out of the industry.
I came to find out that my experience wasn’t unique and even years after leaving the film industry, some of these issues persist. Last year, this conversation erupted online on Twitter through the hashtag #KECreativesDeserveBetter, when several leading filmmakers talked about the unfair treatment they’ve received while working. It caused so much furore, that KFC put out a statement promising to follow up on this and creatives in other fields began to have similar conversations about their industries.
I spoke to three filmmakers who I’ve known for years, on their take on exploitation in the Kenyan film industry and what they think can help progress the industry.
Likarion Wainaina is an award-winning Director and Cinematographer, best known for directing TV shows like Auntie Boss and Crime and Justice and Kenya’s entry for the Best Foreign Language Film at the 91st Academy Awards, Supa Modo.
Voline Ogutu is a talented Screenwriter who’s worked on a plethora of TV and film projects including 40 Sticks, Njoro wa Uba and Varshita.
Gerald Langiri is a well-known actor and casting director. He has featured in series like Mali, State House, Crime and Justice and Selina, and in films like House of Lungula and Veve.
1. Do you think there’s exploitation in the Kenyan film industry?
Likarion: Yes. First, I don’t really think we have an industry but we’re getting there. At this point, making films in Kenya is more about passion as it’s not profitable. It’s why TV shows are where the majority of the work is. If you make a film, it’s almost impossible to make a profit due to factors like not having enough cinemas or even a big enough cinema going audience. I think the exploitation partly stems from there not being enough opportunities or money in it.
Voline: I used to think there was no exploitation, just a lack of opportunities. However, when I reflected on it further, I realized that I had been exploited at the beginning of my career. I worked gruelling hours for barely any money. I’m older now and more experienced and so I can pick and choose my projects and negotiate better pay. I do think that upcoming screenwriters still face exploitation though.
Gerald: There is exploitation in the Kenyan industry but it’s not really recognized as that. Are some people being taken advantage of? Yes. I know I was taken for a ride at the beginning of my career in terms of money. It’s not a Kenyan thing though because even in established industries like Hollywood, there is still exploitation. In Kenya, there simply isn’t enough money though this is changing with more opportunities in the industry through platforms like Maisha Magic and Showmax. We’re still not there as some actors are having to subsidize their income through other means such as social media influencing.
2. What would you like to see change/more of in the Kenyan film industry?
Likarion: I am a huge fan of films that explore and celebrate Kenyan culture and I want to see more of that. Granted, these films tend to be NGO funded, but I’d love to see more of them being made. I am not big on perfection at this point, I think we are still growing an industry and so the focus should be on volume. The more films we make, the easier it’ll be to make a case for investment to scale. It’s show business, after all.
Voline: I think we need to expand our genres and experiment more. I want to see Kenyan horror, sci-fi, thriller and adventure films. We are too stuck on slapstick comedies and family dramas and I think it’s time we grew past that. I’ve had the opportunity to work on projects in the horror and thriller genres, and the reception was very encouraging and I’m excited to keep working in that direction.
Gerald: We need more opportunities in the film industry. COVID-19 showed that many of us are living hand to mouth. I am lucky I have had steady employment on the TV show Selina for the last 4 years, but once that ends, I’m not sure they’ll be another ready opportunity. We need a film policy, better budgets, bigger movies, more investment. I don’t think we have an industry. There’s not enough output for it to be considered an industry just yet, but I think that we are on the right track.
The consensus is that there is exploitation in the industry but the outlook is a positive one. With ongoing conversations and a push to standardize the film industry, I’m looking forward to playing my part by getting back to telling stories.