African filmmakers have boundless ability, and they stand ready to usher in a new era of significant change. With access to new technologies – small, portable and user friendly – they can now reach diverse audiences with their powerful African grassroots storytelling.
Paradoxically, today’s new tech allows individuals and communities to share updated expressions of ancient cultural narratives. It’s a process that is both empowering and democratising.
For industry leaders, it’s crucial that cultural narratives be placed front and centre of the African storytelling agenda.
Filmmakers can drive original indigenous African narratives that not only celebrate diverse cultures and traditions but also serve as educational instruments. And they can do it by using affordable new technologies to impart values, morals and life lessons to the continent’s next generations.
By forging partnerships and collaborating to digitise indigenous knowledge and cultural narratives; and by carefully crafting knowledge-sharing agreements, African filmmakers can share the continent’s vast indigenous knowledge. VFX will be a useful ally in this process, as it enhances storytelling capabilities.
By embracing the interest in cultural narratives on streaming platforms, and employing social media, Africans can make their mark and reach far wider audiences than ever before.
AI in filmmaking
AI-powered filmmaking tools are another technology revolutionising the sector. AI lives at the intersection of art and technology, automating tasks such as scriptwriting and analysis, casting, video editing, CGI generation, sound design and even created virtual actors. It can also streamline workflows and reduce costs by redefining filmmaking processes, even while it nurtures creativity and helps filmmakers create unique, engaging content.
The rise of AI presents a unique opportunity for the African film industry, but there is a need to navigate its challenges strategically. At no point will this technology replace fully fledged film crews, but it can be a tool that assists and enhances their craft. AI relies on programming and algorithms, and cannot reproduce the human emotion that directors, producers, writers and actors use to touch audiences’ hearts.
AI also brings ethical challenges. Bias can filter into data and perpetuate harmful stereotypes and inaccuracies. Ownership and rights are another grey area, as web scraping make it difficult to ascertain originally authorship and ensure artistic integrity.
Access challenges
More sophisticated technological storytelling tools and techniques such as virtual reality, augmented reality and drones continue to be inaccessible for many African filmmakers. Uneven access to stable grid electricity and high-speed internet further compounds the challenge. There is also an inadequate supply of VR and AR hardware. This implies a clear need to design an Africa-wide AR/VR curriculum complete with training labs, immersive engagement and hands-on knowledge sharing.
Drones represent a digital revolution in photography, offering new perspectives and stunning aerial reviews – perfectly suited to Africa’s awe-inspiring landscapes. However, the technology does present cost barriers for emerging and mid-career filmmakers, there is also a lack of information and education on safe drone usage.
Gadget updates are expensive, and coupled with the bureaucracy surrounding drone licencing, the move to new technologies is extremely difficult in Africa, this can make drone adoption difficult.
Blockchain empowerment
One technology I do see gaining wider adoption over the next decade is blockchain. It has the capacity to automate, incentivise and authenticate content distribution worldwide. Blockchain technology can drive financial inclusion, enhance governance and reduce content piracy.
The influx of content brought on by streaming services, can place content creators at the mercy of intermediaries. Blockchain can empower creators by restricting control over their content and disrupting traditional distribution models – decentralising content distribution and building direct links to end users.
I also see Africa’s film industry using NFTs as a new way to reach audiences, monetise content and fight unauthorised use. By selling NFTs that verify content ownership and authenticity, creators can generate new sources of revenue through exclusive content, merchandise or experiences. Similarly, NFTs can create new levels of engagement between fans and the content they love.
One thing I do know is that Africa’s young filmmakers are willing and enthusiastic about new technology. But at the same time, they remain in touch with the deep storytelling tradition that underpins Africa’s culture.
On my journey as the MTF East Africa Director, I have had many proud moments that bear this out.
It has been a blessing to see more than 80 per cent of our graduates becoming economically active in the film industry – setting up production houses, pitching for projects, and producing award-winning work.
In 2022, MTF students were commissioned for five films for Maisha Magic even before graduating. The youngest director and series producer in an M-Net TV series comes from MTF East Africa. They were commissioned to produce Tanzania’s first reality TV show for Showmax, in the same week three students secured full-time quality-assurance roles at Maisha Magic Bongo.
The film Stop War, shot in our academy classroom in 2023, won a Junior Creative Award at the International Emmys; Isiko Abubaker from Uganda (class of 2020) won three consecutive Best Sound Designer awards at the Uganda Film Festival; and Midnight Bride by Doreen Kilimbe of the class of 2022 secured five wins in four festivals across Africa.
As the future unfolds, I am confident we will see this trend of success continue, with talented young filmmakers using the technology of the future to tell timeless stories from the past in the compelling film language of today. Ours remains an industry unmatched for enriching lives, while creating life-changing opportunities.
Victoria Nzale Goro is a director at MultiChoice Talent Factory East Africa
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