Every time I find myself working on an article on film, my thoughts inevitably circle back to Kenya’s film culture.
I find myself asking random questions like, What happened to the people who went through virtual production training last year? Why do so many African stories, especially documentaries, lean so heavily on struggle, resilience and poverty? Is it even possible for funding organisations to support films that simply tell stories that celebrate joy or everyday life?
And are these films even meant for us? Too often, we only hear about them after they’ve won international accolades, and only then do they get screened locally.
That last question was answered, at least partly, by the EAccelerate Regional Screening on January 30, at Prestige Cinema in Nairobi.
It was Documentary Africa’s first public screening event in East Africa, organised in partnership with the East African Screen Collective and DW Akademie. After a few technical issues, Six short films were screened, three documentaries and three fiction pieces.
Let’s talk about them
The Documentaries
Xurmo
The standout of the night was Xurmo, a heartbreaking portrait of Binti Cumar Gacal, a Somali musician who was popular before Somalia’s collapse.
Her story is symbolic of the nation itself. I spent most of the film holding back tears, it’s an incredible story that was effective because of the bareness of it all.
The pacing lets you sit with her reality, the archival footage, the framing holds her presence with dignity. Above all, it’s her decision to stay in Somalia despite fame and the option to leave that makes this story profound.
Now don’t get me wrong, it follows a generic documentary format, though I can’t see any other way of telling this story. What I liked was the discipline with the cinematography and the stylistic choices they made with the look.
sKINs: Addis Abeba
The second documentary, Skins Adeba, was more experimental, nonlinear, poetic and visually daring. At least three times, I thought it had ended, only for it to continue.
That unpredictability worked in its favour. The use of small animated overlays and artistic imagery was refreshing, though the narration felt unnecessary and sometimes pretentious. Still, I appreciated its attempt to bend time and what they were doing with the visuals.
The One with The Tempered Flowers
The third documentary, a Kenya-Tanzania collaboration, tackled issues affecting women, marriage, and fibroids. The concept was generic, conventional, and safe, but with very promising opening scenes. The execution felt uneven. The film tried to merge two themes into one short, and the result was unfocused.
I could see the vision, but it lacked the boldness and confidence of the other works. The intro was compelling, but the rest needed streamlining. It wasn’t experimental enough to justify its groundedness, nor polished enough to carry the weight of its themes.
The Fiction Films
The Fortunate
The first fiction piece, from Ethiopia, was a delightful cinematic surprise. I thought it was a clever look at addiction, but it turned out to be a sharp, funny drama.
The cinematography felt maybe too good for something that was meant to be experimental, the direction confident, and the performances grounded yet compelling. The ending left us hanging, suspenseful, unresolved, yet satisfying.
Little Red Eve
Next came a Ugandan sci-fi short, and this matched what I expected. The restrained use of dialogue was welcome. I’m surprised a story like this was even funded because it’s a sci-fi concept that smartly explores the zombie subgenre.
It had VFX, experimental shots, and a sense of fun that was infectious. It wasn’t perfect, the budgetary constraints were evident and the logic of it all is debatable.
How To Forget Your Name
The final fiction piece was even more ambitious: a futuristic, big-budget-style sci-fi experiment. It had elaborate costumes, bold set pieces, and visual effects that aimed high but fell short.
Some shots looked rough and I couldn’t help but think AI tools could have helped polish certain scenes. Still, I admired the ambition. Even if the concept was somewhat generic, the sheer scale of imagination was exciting. It felt like a glimpse of what African storytelling could become if given the resources to match their imagination.
What worked, what didn’t
The programme was diverse, and that diversity was its strength. But I left with a few concerns. Too many of the documentaries leaned on voiceovers, especially female narration over female-centred stories. Having a specific group’s voice amplified doesn’t automatically make a film profound.
Creative angles and filmmaking discipline are what make a memorable experience, like Xurmo.
We need more female filmmakers, yes, but we also need them to be bold, experimental and inventive. Otherwise, there’s a risk of laziness (generally, not just women), of filmmakers relying on themes that guarantee funding rather than pushing themselves to tell unique, universally resonant stories.
Xurmo worked because it’s focused thematically but broader in concept. It’s profound because the filmmaking discipline lays bare that incredible story.
sKINs had the same problem. The filmmaker has the right to tell their story how they choose, but I kept asking myself: why not stick with the older women already established in the story? I found myself yearning to get more of their stories. At some point, I wished they were the narrators.
Closing Thoughts
I’m glad the event happened. The big takeaway was that we got to see some of the stories that get funding.
We got to see filmmakers experiment, and I got to see Xurmo. I know I keep going back to this short documentary, but it’s incredible, it’s an incredible story, and I can’t wait for the complete version of Binti Cumar Gacal’s story.
But on the flipside, it also reminded me of the dangers of formula. If funding continues to reward safe narratives, filmmakers may stop trying to be creative, opting instead to align with funding bodies’ narratives rather than telling their stories in their purest form.