What we should do to reignite our film production

I love watching movies, particularly those with unpredictable twists. Beyond my fascination with movie plots and characters, I muse over what it takes to produce a good film.

Nairobi was once abuzz with movie theatres, and I patronised a few. Majority of them have either closed down or have been repurposed into houses of worship, not that I have anything against soul harvesting.

The obsolescence of movie theatres in Kenya is a stark reminder of how technology has revolutionised mass-entertainment along with other major industries. It is encouraging, however, that a new breed of state-of-the-art movie theatres are springing up in strategic locations to appeal to Kenya’s rising middle-class.  

Of greater interest still, is that majority of the films and movies screened locally are mostly from established movie spinners like Hollywood and Bollywood. Occasionally, local productions are screened, and I was delighted to attend the premiere of Subira, which was crowned as the Best Feature Film at the Kalasha Awards 2018.

The talent and quality displayed through this production are impressive. Sadly, our productions barely command the cult following enjoyed by box office productions such as Black Panther. The fact that our own Lupita Nyong’o starred in the film was a bonus to Kenya.  

What to do

The economic value of the film industry in Kenya is yet to be properly understood, and this, therefore, limits investment in the sector. Advanced film markets such as the USA, China and India and recently Nigeria, employ deliberate strategies to support their film sectors.

In Kenya, broadcasters will ultimately be required to air 60 per cent local content. However, most stations struggle to sustain the current 40 per cent threshold. These broadcasters, together with distributors and broadcasters can draw lessons from the over the top operators (OTTs).

To penetrate new and wider markets, the OTTs leverage local insights to produce content that is relevant for a specific market. Netflix, for example, will soon premiere Queen Sono, an African themed female-led spy series set in South Africa. The Kenya Film Commission, Kenya Film Classification Board, Kenya Institute of Mass Communication and the Kenya Film School will have to pool resources and efforts to address the needs of the film sector. As a country, we need to have investments in film studios and sound stages that can appeal to both local and international movie makers. The Government is also looking into putting in place attractive incentives in place to entice international movie producers to film in Kenya and spur a positive ripple effect for the local communities.  

Digital technology has revolutionised production and distribution of music and movies, hence revenue generated to access entertainment content has decreased in most parts of the world. The local copyright and intellectual property laws, therefore, need to be harmonised with international laws. The sector players have also called for conclusion of the film policy so that it can be the overarching reference for film production. The levies charged for filming in various counties also need to be renegotiated so that producers are not discouraged by double taxation.

The fragmented African market stifles growth in the entertainment sector, but potentials exist through the Smart Africa initiative, under which Kenya is responsible for driving the digital economy. Co-production opportunities should be explored in these markets and producers should not shy away from looking east to tap into China’s 1.2 billion market.

The government seeks to establish a revolving film fund accessible to filmmakers for productions. In collaboration with the Kenya National Bureau of Statistics, the Ministry of ICT will also develop effective tools and mechanisms to aggregate data and analyse the value of the different verticals within the entertainment sector with the aim of influencing investment decisions.

Continuous consultations with key stakeholders are critical. With a median age of 19 years, the film sector has a huge potential to generate youth-centric job opportunities.

And just like the US and China, we can and must produce movies that portray our values as a nation, foster our patriotism, enhance cohesion and also validate the industry players who work tirelessly to entertain us. We need to advocate for congenial and collective screen-time opportunities at movie theatres across the 47 counties.

There is no shortage to stories of Kenya’s rich and vibrant culture. Let us share these with the world through local productions.

-  The writer is the Cabinet Secretary, Ministry of ICT