From award-winning films to bold, socially charged storytelling, Daudi Anguka has built his career on telling Coast-rooted stories that refuse to be ignored. With Mizani, his first Showmax-commissioned project shot and set in Mombasa, the filmmaker dives headfirst into the dark underbelly of organ trafficking—blending research, lived realities, and gripping drama to both entertain and provoke.
Mizani premieres on Showmax today and on Maisha Magic Plus this Saturday, with new episodes every week.
A passionate advocate for community storytelling and youth mentorship, Anguka’s journey from local producer to international recognition reflects a filmmaker determined to scale African stories beyond borders, one fearless narrative at a time.
Tell us about the inspiration behind Mizani
When I conceived Mizani, my starting point was simple. I wanted to hear different audiences talking about their stories. Stories that come directly from the Coast. Mizani is my love letter to the Coast as an island. This is who we are. This is what happens here.
Yes, I previously have done telenovelas—Pete, Sanura, Mkasi—but this time I said, let’s go darker. Let’s go into a drama thriller. Let’s do Mizani.
For me, storytelling must do two things: entertain and educate. There are so many things happening around us that people don’t talk about or don’t even know about. My job is to take those realities, shape them into stories people relate to, and keep audiences glued to the screen.
There are a lot of similarities between Mizani and Mvera. Why did you choose to focus on organ trafficking? Is it something you experienced or something that happened in that context?
Yes, Mvera and Mizani share a theme: organ trafficking. But they are completely different worlds.
When I made Mvera, I realised something terrifying: organ trafficking is a massive chain, and it changes shape depending on where you look. One theme, many realities. One truth, many stories.
Mizani is rooted in reality, not just in Kenya, but across Africa. Poverty pushes people to terrifying choices. Some are ready to sell their organs. Some don’t even know they have lost them.
That’s why the show is called Mizani which in English means scales. For me, the show interprets the scale of life. Do you save yourself? Or do you destroy yourself?
That is why we call it Mizani. Mizani of life is to kill yourself; Mizani of life is to save yourself.
The show features a cast mostly from the Coast region including Michael Saruni who plays the lead. Tell us about this.
When we built Suleiman, I knew exactly what I wanted:
A hustling journalist.
Print media.
A man trying to make headlines and survive.
But I also needed someone who belonged to the Coast. This is the first Showmax project commissioned in Mombasa. The audience needed to see themselves in him.
Saruni was born here. He lives here. But he also lived in the Nairobi hustle.
Now, when you watch Mizani, you’ll see it.
Suleiman.
His daughter Amira.
They are the heart of this world—and they open the door for the audience to experience the dark side of organ trafficking.
As a CEO, what do you do for fun?
I travel. When I get time, I disappear. Alone. Thailand and Seychelles are currently on my bucket list.
Most expensive thing you own.
My iPhone 15 Pro Max. Mostly for behind-the-scenes photos. Otherwise, I’m simple.
How do you unwind after a long day shoot?
Friends. Family. Drives. Just being human—not Daudi Anguka the filmmaker.
Favourite meal?
Ugali na liver ya kuku. Always.
Who inspired you to join the film industry?
Clifford Okumu changed everything for me. Watching his work, I told myself: I can do this too.
Then I watched Nairobi Half Life. I said, if Nairobi can produce this, Daudi Anguka will produce Mvera. And we did. And it won awards.
That’s when I knew—I wasn’t just a local producer. I could go internationally.
Watch Mizani every
