The Standard (Zimbabwe)

Local lm industry on new trajectory

THE Cinema Society of Zimbabwe (CSZ) has emerged as a beacon of hope for filmmakers in Zimbabwe and at the helm is Richard Tenton whose passion for film is rewriting the Zimbabwean film trajectory.

Standard Style reporter Sandra Ngwaru (SN) recently had the privilege of sitting down with its founder RichardTen­ton (RT) to discuss various issues with regards to the CSZ and the film industry in general.

Below are excerpts from the interview.

SN: What inspired you to start the Cinema Society of Zimbabwe, and what were your goals?

RT: Well it was my lifelong aspiration and passion for the film industry. From childhood, I dreamt of being the Chuck Norris of Zimbabwe.

I was captivated by the iconic Western action films, and television dramas that were the talk of the town during my formative years. I also had a flair for creative writing and my ambition was to pursue a career in the film industry, telling authentic stories and starring in my own movies.

However, upon closer examinatio­n of the state of the Zimbabwean film industry in 2016, I recognised that the sector was in a state of disrepair, requiring a collaborat­ive, multi-stakeholde­r effort to bring it back on track and set it on a sustainabl­e path.

While my original intention was to achieve stardom on the big screen, the necessity to address the industry's challenges became the primary catalyst for the establishm­ent of the CSZ.

SN: What challenges has the CSZ faced, and how have you addressed them?

RT: The greatest challenge has been the limited access to funding and financial resources. We have also had challenges with lack of government support and the need for more conducive policies.

However, we have sought partnershi­ps and sponsorshi­ps from private companies and donors to support our initiative­s, such as the Zimbabwe Annual Film and Television Awards (Zaftas), Jakwara Short Film Competitio­n, and various training programmes.

This collaborat­ive approach has also been instrument­al in securing the necessary financial and material resources to sustain the organisati­on's operations and programmin­g.

We also recently got an opportunit­y to engage with the parliament­ary portfolio committee on informatio­n, media, and broadcasti­ng services. This direct dialogue with policymake­rs is a strategic move to ensure that the industry’s concerns and needs are heard and addressed through appropriat­e legislativ­e and regulatory framework.

SN: What is the impact of government policies on the Zimbabwean film industry?

RT: Well, the government has recognised the industry’s potential to contribute to cultural preservati­on, national identity, and economic growth, as outlined in the National Developmen­t Strategy 1 (NDS1).

This suggests a willingnes­s to address the industry's challenges, which, if paired with well-crafted, comprehens­ive policies and strategic investment­s, could unlock the significan­t social, cultural, and economic benefits that a thriving film and TV industry can bring to Zimbabwe. However, there are several gaps that need to be addressed.

Firstly, it is the lack of dedicated funding and financial incentives for film and TV production­s.

This has made it difficult for the local industry to attract private investment, stifling growth and limiting the ability to produce highqualit­y content.

Secondly, the lack of clear guidelines on areas such as content standards, intellectu­al property rights, and distributi­on channels has created inconsiste­ncies and uncertaint­ies, leaving industry players vulnerable to exploitati­on.

The absence of policies to support local content developmen­t and incentivis­e foreign investment has further hampered the industry's ability to thrive.

Additional­ly, the underdevel­oped production infrastruc­ture and technology, a result of insufficie­nt policy attention and investment, have posed significan­t barriers to the industry's growth and access to internatio­nal markets.

This, coupled with limited opportunit­ies for skills developmen­t and training, has made it challengin­g for the Zimbabwean film and TV sector to build a sustainabl­e local audience and compete globally.

SN: How does the CSZ support emerging filmmakers and talent in Zimbabwe?

RT: We offer guidance and expertise to young and aspiring filmmakers. This advisory support covers a range of areas, from creative and technical aspects to the administra­tive and legal considerat­ions of filmmaking.

We also offer training and skills developmen­t programmes through workshops, masterclas­ses, and other educationa­l initiative­s to equip emerging talents with the necessary skills and knowledge to succeed in the industry.

This August, we will be hosting a Filmmaking Bootcamp in Shamva, where young aspiring filmmakers between the ages of 16 and 25 will receive hands-on training and practical experience in various aspects of the filmmaking process.

We also provide administra­tive support, such as assisting with funding applicatio­ns, securing filming locations, and navigating bureaucrat­ic processes.

We have also leveraged our network to connect young talents with potential collaborat­ors, private funders, and government agencies, creating a more enabling environmen­t for their growth.

Moreover, we have establishe­d platforms like the Zaftas, Starlight

TV show and the Jakwara Short Film Competitio­n to showcase and celebrate the work of emerging filmmakers.

These initiative­s not only recognise and honour exceptiona­l talent, but also serve as springboar­ds for further profession­al developmen­t and exposure.

SN: What challenges are faced by Zimbabwean filmmakers in their quest to access global markets?

RT: Firstly, it is the lack of access to adequate production financing within the country. Independen­t filmmakers often struggle to selffinanc­e their projects, which limits their ability to engage top-tier talent, acquire the best equipment, and secure the necessary crew and ancillary services.

This frequently results in production­s that do not meet the high standards expected in the global marketplac­e.

The second challenge is the limited distributi­on infrastruc­ture within Zimbabwe.

With no establishe­d domestic distributo­rs, independen­t filmmakers are forced to undertake the costly and arduous process of selfdistri­bution, both within the country and internatio­nally. The financial burden of securing global distributi­on also adds to the problems.

Moreover, the high costs associated with screening films in the few foreignown­ed cinemas operating in Zimbabwe pose an additional barrier.

These expenses can be prohibitiv­e for many independen­t filmmakers, effectivel­y pricing them out of the local exhibition market, let alone the global stage.

SN: What partnershi­ps or collaborat­ions has the CSZ formed to promote Zimbabwean film globally?

RT: We have secured agreements with a Netflix agent to stream selected Zimbabwean films to internatio­nal audiences.

Additional­ly, the CSZ has forged partnershi­ps with a cinema chain in the United Kingdom, facilitati­ng the theatrical release of Zimbabwean production­s in the European market.

Furthermor­e, the CSZ has cultivated co-production arrangemen­ts with exhibitors in three African countries, creating opportunit­ies for Zimbabwean filmmakers to collaborat­e regionally and expand their distributi­on networks.

To Page 7 tistic expression ventures beyond the familiar genres or norms that our country is accustomed to, it often falls into a niche market that, while passionate, may not be sustainabl­e in the long term. This is the harsh reality we must confront with clarity and compassion, even as we strive to push boundaries and challenge the status quo.

KM: In April you performed in Harare as part of your homecoming efforts. Can you share your plans and aspiration­s for your music in Zimbabwe?

JM: My vision for my music in Zimbabwe and beyond is to kindle a beacon of hope that illuminate­s the lives of all who encounter it. I hope for my art to be a constant source of solace, a gentle reminder that even in the darkest moments, there is always a glimmer of light to urge us forward. As people navigate the complexiti­es of their daily existence, searching for meaning and purpose, I hope that my music will be a steady companion, a reassuring embrace that uplifts and inspires.

April was merely a whispered promise that hinted at the tempest of creativity that lies within us. My team at Point Black Africa and I are poised to pour every ounce of our being into the music until we are drained of everything but the joy, love and hope that we have shared with the world for we know that the power of music lies not in its ability to merely entertain, but to transform, to heal and to awaken the very essence of our humanity.