Filmmakers Hangout has grown into a key fixture in Kenya’s creative calendar by providing space for collaboration, skill-sharing, and industry engagement. The introduction of TUFA signals an important step toward recognising new voices in the film sector and opening more opportunities for young filmmakers to showcase their work on a national stage.

A Platform for Emerging Talent

The 2025 edition featured screenings of the top nine shortlisted films selected from 37 submissions received from across Kenya. A professional jury from the Kenya Film Commission evaluated the entries. The live audience also played a role by casting votes in real time through the Filmlytic platform.

The awards ceremony highlighted three outstanding filmmakers who collectively received cash prizes totalling KSh 100,000. The event included creative discussions, networking sessions, industry insights, and entertainment that brought together a vibrant community of storytellers.

A Growing Creative Movement

Organisers reported more than 800 attendees, a number that reflects the expanding interest in local filmmaking and the increasing demand for youth-driven storytelling. Media outlets such as KBC, SPM Buzz, GBS TV, and several digital platforms covered the event and helped expand the visibility of emerging talent.

Championing Kenya’s Next Generation of Storytellers

The introduction of TUFA reflects a wider momentum within Kenya’s creative sector. There irwows an increasing need for platforms that elevate new talent and invest in skills development. Many participants and industry observers noted that supporting emerging filmmakers is essential for sustaining a sector that represents Kenya’s diverse identities, experiences, and narratives.

As Filmmakers Hangout grows, expectations are rising that TUFA will develop into a flagship award for early-stage filmmakers. The initiative is seen as a way to encourage fresh voices, innovative storytelling, and deeper participation in the country’s film ecosystem.

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When Bien-Aimé Alusa Baraza, better known simply as Bien – or if you may, baldman, announced his Alusa Continua world tour, anticipation soared not only in Kenya but across the global African music diaspora. Best known as a founding member of the legendary Afro-pop band Sauti Sol, Bien has stepped into the solo spotlight with confidence, charisma, and conviction. The tour, spanning East Africa, Europe, North America, and Australia, is a cultural statement about the evolution of African music, identity, and artistry.

From Bandmate to Frontman

For over a decade, Sauti Sol dominated Kenya’s and Africa’s music scene with chart-topping hits and electrifying live performances. Their collective success built a solid foundation, but Bien’s decision to carry the torch as a solo act marks a new chapter. His artistry balances the vulnerability of his songwriting with the boldness of his stage presence. The Alusa Continua tour name itself reflects continuity, a reminder that while the group dynamic may have shifted, the creative journey remains unbroken.

Homecoming and Reunion

The Nairobi leg of the tour at Carnivore Grounds became a defining moment. Tickets sold at a rapid pace, underscoring the hunger for homegrown talent on big stages. Beyond Bien’s solo catalogue, fans were treated to an emotional surprise when fellow Sauti Sol members – Savara, Chimano, and Fancy Fingers-joined him on stage. The reunion ignited nostalgia, proving that while Bien’s solo career thrives, the brotherhood of Sauti Sol remains intact. This blend of past and present captured the essence of the tour: a celebration of growth without erasing history.

Kenya to the World

The Alusa Continua tour extends far beyond East Africa, with stops in Paris, Amsterdam, London, Los Angeles, Dallas, and even Melbourne. This global footprint highlights the increasing demand for African music on international stages. Bien is not only carrying Kenyan sound across borders, he is embedding it into global playlists, diaspora nightlife, and mainstream cultural conversations.

This cross-continental reach mirrors the journeys of Afrobeat giants from Nigeria or amapiano pioneers from South Africa. For Kenya, often under-represented in global Afropop, Bien’s tour signals an important shift: Kenyan music is claiming its rightful place in the global spotlight.

Why It Matters

The significance of Alusa Continua lies in what it represents for Kenyan and African music:

• Representation – Bien shows that Kenyan artists can headline international tours and draw diverse audiences.
• Cultural Exchange – Each show becomes a platform to share Swahili lyrics, Kenyan rhythms, and African storytelling with new listeners.
• Economic Value – Successful tours contribute to a growing creative economy, spotlighting the role of music in livelihoods and cultural diplomacy.
• Continuity – The reunion moments with Sauti Sol demonstrate that solo careers do not mean the end of shared legacy; they can coexist and enrich one another.

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Why the hype?

Unlike typical teen dramas filled with love triangles and high-stakes drama, Forever presents a grounded portrayal of two teenagers navigating love and personal growth. Keisha, transfers to St. Maria High School following a personal scandal, while Justin grapples with choosing between his passions for basketball and music.

Why it matters?
The series delves into family dynamics, showcasing contrasting parenting styles: Shelly Clark is a single mother striving to provide stability for Keisha, whereas Eric Edwards encourages Justin to embrace responsibility. Additionally, Justin’s mother, Dawn, exhibits a protective nature, fearing emotional harm for her son.

Identity and ambition are central themes, with Justin torn between his athletic aspirations and musical talents, and Keisha determined to attend Howard University. Their relationship faces challenges, particularly in communication, often leading to avoidance rather than resolution.

The big picture.

The show focused on what the challenges young couples face while they try to love each other. Keisha, a determined track star aiming for a scholarship to Howard University, navigates the pressures of academic excellence and familial expectations.

Her bond with her best friend, Chloe, provides a source of support and levity, highlighting the importance of female friendship during adolescence.

Justin, balancing his passion for music with basketball commitments, grapples with ADHD and the weight of parental aspirations. His friendship with Darius serves as a grounding force, offering candid advice and unwavering loyalty. The warmth of Justin’s family, particularly their welcoming embrace of Keisha, underscores the significance of familial support in young relationships. However, their journey isn’t without challenges; a leaked intimate video from Keisha’s past tests their trust and resilience, reflecting the real-world implications of digital exposure.

What are they saying?
Well Netflix has said they are planning for a season two, if you ask me , it will just complicate issues between them. At the end we see they have to go separate ways because Justin was too emotionally invested and attached to Keisha which affected his decision making. They had to go separate ways in order for him to know what he wants and go for it.

But let’s see what Netflix is cooking for us .

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For years, the league has operated under a simple mantra: You don’t pay us; we don’t pay you. But why would a global superstar like Lamar, a Pulitzer Prize-winning artist with a diamond-certified catalog, agree to perform for free?

The answer lies in the Super Bowl’s unique alchemy of exposure, legacy, and cold, hard economics. Let’s unpack this.

The NFL’s “No Paycheck” Playbook

The NFL’s refusal to pay halftime performers isn’t personal—it’s policy. In 2023, Rihanna famously took the stage in Arizona while nine months pregnant, belting out hits like “Umbrella” and “Diamonds.” Did she get a cut of the 7billiontheNFLreportedlyearnsannually?

Nope. Instead, the league covered the show’s production costs while Rihanna’s team leveraged the platform to relaunch her brand after a seven-year hiatus. Her music sales spiked 390% post-show.

The pattern holds. When The Weeknd performed in 2021, he reportedly spent $7 million of his own money to enhance his dystopian set. His reward? A 41% surge in streaming revenue and a career-high 103 million Instagram followers. Even Shakira and Jennifer Lopez’s electrifying 2020 performance—which drew 200 million YouTube views—came with no artist fees.

The NFL’s stance is clear: We offer the stage; you reap the rewards.

But Wait… What About the Artists’ Costs?

Critics argue the NFL’s model is exploitative, especially when artists front production expenses. In 2022, Dr. Dre, Snoop Dogg, Eminem, and Mary J. Blige delivered a hip-hop history lesson in Los Angeles. While the NFL covered staging, Dre allegedly invested millions in “extras” to perfect the show. Yet, the cultural clout was undeniable—the performance racked up 29 million tweets and boosted Dre’s net worth by $50 million, according to Forbes.

The Super Bowl averages 100–120 million U.S. viewers, plus global streams. For artists, that’s equivalent to years of touring and marketing condensed into 13 minutes.

As Jay-Z, whose Roc Nation now co-produces the halftime show, once said: “You can’t buy that kind of visibility.”

Why Lamar would Say “Yes” to $0

Kendrick Lamar isn’t just any artist. He’s a generational voice whose work dissects race, politics, and identity. A Super Bowl slot would amplify his message to Middle America—a demographic that might not stream Mr. Morale & The Big Steppers on repeat.

But let’s be real: Kendrick is also a businessman. When he headlined Glastonbury in 2022, he reportedly earned $4 million. So why play for free?

1. The Post-Show Bump: After Rihanna’s 2023 show, her back catalog streams jumped 385%. Kendrick’s streams (currently 15 million monthly on Spotify) could skyrocket, padding his royalties.
2. Tour Fuel: A 2025 halftime show would perfectly time with a new album cycle. Imagine the ticket sales for a subsequent tour.
3. Cultural Capital: The Super Bowl is a legacy-maker. For Kendrick, whose artistry thrives on societal impact, this is a megaphone—not a paycheck.

Detractors claim the NFL’s stance is hypocritical. The league earns billions from TV deals, sponsorships, and tickets, yet performers—often Black and Brown artists driving cultural relevance—go unpaid. Even Pepsi, a longtime halftime sponsor, exited in 2023, calling the costs “prohibitive.” Still, the NFL holds the cards.

Artists aren’t hostages here. They negotiate fiercely for creative control (see: Prince’s 2007 iconic rain-soaked set) and promotional perks. In 2016, Beyoncé used her Formation performance to spotlight Black empowerment, knowing the NFL couldn’t censor her. The league needs stars as much as stars need the platform—it’s a symbiotic hustle.

The NFL’s no-pay policy isn’t changing anytime soon—not when artists keep lining up. For Kendrick Lamar, the math still works. The Super Bowl isn’t a gig; it’s a cultural baptism. The league gets a marquee name; the artist gets immortality (and a post-show sales tsunami).

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From Kendrick Lamar’s polarizing halftime show to the dominance of AI in commercials and the Philadelphia Eagles’ crushing victory over the Kansas City Chiefs, this year’s Super Bowl was a rollercoaster of highs and lows.

Kendrick Lamar’s Bold Statement  

Kendrick Lamar made history as the first solo rapper to headline the Super Bowl halftime show, a milestone for hip-hop culture.

However, his performance was met with mixed reviews. While some praised his artistic vision and political undertones, others found it underwhelming.

Lamar opened with a dramatic entrance alongside Samuel L. Jackson, who played “Uncle Sam,” setting the tone for a performance steeped in Americana and social commentary. The dancers formed an American flag, only to deconstruct it, symbolizing the complexities of the nation’s identity.

Lamar’s setlist leaned heavily on his recent work, including tracks from his 2024 album GNX, such as “squabble up” and “man at the garden.”

While these songs resonated with his core fans, they left casual viewers craving more familiar hits like “HUMBLE.” and “DNA.”

The inclusion of SZA for “All the Stars” added a touch of elegance, but her performance felt canned, lacking the spontaneity that makes live shows memorable.

The highlight of the show was undoubtedly “Not Like Us,” Lamar’s scathing diss track aimed at Drake.

The crowd erupted as Serena Williams joined the stage, C-walking in a symbolic nod to Lamar’s Compton roots. Yet, the decision to end with the lesser-known “tv off” left many viewers feeling anticlimactic.

Lamar’s performance was a bold artistic statement, but it struggled to balance his avant-garde vision with the mainstream appeal the Super Bowl demands.

The Game: Eagles Soar, Chiefs Stumble  

On the field, the Philadelphia Eagles delivered a masterclass, defeating the Kansas City Chiefs 24-0 in a surprisingly one-sided game.

The Eagles’ defense was relentless, shutting down Patrick Mahomes and the Chiefs’ offense at every turn. This victory marked a historic moment for the Eagles, solidifying their place as one of the NFL’s elite teams.

Tom Brady, in his first year as a Fox Sports analyst, provided a candid reflection on the Chiefs’ struggles, drawing from his own experiences of Super Bowl losses. His insights added depth to the broadcast, though his commentary style remains a work in progress.

AI Takes Center Stage in Advertising  

This year’s Super Bowl was dubbed the “AI Super Bowl,” with tech giants like OpenAI, Google, and Meta showcasing their latest innovations.

OpenAI’s debut commercial highlighted ChatGPT’s capabilities, while Google promoted its Gemini language model. Meta’s ad for AI-powered Ray-Ban smart glasses and Salesforce’s AI customer assistant further underscored the growing influence of AI in everyday life.

One of the most talked-about ads was Holland America’s AI-generated commercial, which used cutting-edge technology to create stunning visuals.

However, the reliance on AI also sparked debates about the future of creativity and human involvement in content production.

Cultural Impact and Controversy  

Beyond the game and the ads, Super Bowl 2025 sparked conversations about representation and diversity.

Lamar’s performance, while groundbreaking, reignited debates about the NFL’s audience and whether the halftime show should cater to a broader demographic.

Some viewers criticized the lack of crossover appeal, while others celebrated Lamar’s unapologetic celebration of Black culture.

The inclusion of Samuel L. Jackson as “Uncle Sam” added a layer of political commentary, with some praising the symbolism and others dismissing it as empty theatrics.

Similarly, Serena Williams’ cameo was a highlight for many, but it also highlighted the ongoing feud between Lamar and Drake, adding a layer of drama to the event.

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This is how I first met Liboi, an African contemporary artist. While providing coverage that would later be used as a class project, I fell in love with the uniqueness of her voice, and therich African sound tucked in her music. Her EP, State of Being, carried varied emotions, a woman’s perspective on the search for paradise and freedom in an African context.

Fast forward to October 2023: Liboi invited my team to provide videography services for her debut multidisciplinary show, “Whispers of Power,” held at Ardhi Gallery, Nairobi. This event, a first for many, attracted music enthusiasts and cultural aficionados from Nairobi and beyond.

From the outset, the performance immersed us in its narrative. Liboi’s vocals painted the story, while Maulid Owino brought it to life through dance. Between performances, Wakio Mzenge solidified the narrative with captivating storytelling. The artworks adorning Ardhi Gallery’s walls further enriched the experience, making “Whispers of Power” a stunning feast for the senses.

Following the successful Nairobi showcase, the show embarked on a tour, with Kisumu as its first stop. Backed by the French Government’s Creation Africa-Kenya project, the Kisumu edition promised to be bigger and better. Though not in the same capacity, I spent a week with the team as they prepared for the show, which took place on Friday, May 24, 2024.

The team set up camp at Dunga Hill Camp, where they honed their craft, refining the script, adjusting elements, and boosting each other’s morale. Their collaborative spirit was evident. For instance, Maulid Owino, the contemporary dancer who collaborated with other dancers in Nairobi, now partnered with Kisumu’s own talent, Pretty Lodenyi. This ensured the Kisumu performance resonated more deeply with local audiences, particularly in light of the recent floods that had devastated the region. Recognizing the need for a storyteller with a deeper understanding of Luo culture, the team brought Mary Zaffy on board, whose insights helped bring the story closer to home. Additionally, Liboi’s band expanded to include Brian Mufana, a gifted musician from Kisumu.

Wakio Mzenge’s masterful storytelling further shaped the love story of Thuolo and Teko, the central characters of “Whispers of Power.” As they narrated the story while exploring Dunga Hill Camp, Maulid Owino and Pretty Ludenyi translated the words into powerful visuals through dance. This, coupled with the evocative use of light to create mood transitions and enhance the visual appeal, fostered a deeply immersive experience for the audience, who actively participated in shaping the story’s meaning. While all this helped shape the story, on the main stage, Liboi, with the help of her band of the day; Komora (Guitar, Music Director & additional vocals), Collins Obwar (Percussions), Salome Waithera (Additional vocals), Brian Mufana (Guitar, Flute & Additional vocals), she brought haarmony to the story, adding an allure of a rich African vibe.

Liboi’s background in film and journalism proved invaluable. She skillfully complemented her own artistry with the expertise of other creatives. Witnessing the convergence of these diverse art forms to create such an impactful story was truly inspiring. Just like the Nairobi edition, the Kisumu performance was a spectacular display of the interconnectedness of art forms. The meaning of art, after all, extends beyond the artist; it’s a collaborative journey where the audience actively shapes the narrative to make it their own, as witnessed in Whispers of Power.

As the sun dipped below the horizon, casting its fading orange glow on Lake Victoria, our star-crossed lovers shared a romantic moment on a boat. The story ended on another stage, where they were married and shared a celebratory dance. The closing songs were infectious, inciting the crowd into a frenzy, creating an electrifying “amka tukatike” moment. The audience demanded an encore, begging for just one more song, one more dance.

Liboi will be staging Whispers of Power in Nairobi’s Sarakasi Dome on Saturday, 8th June. The event is free of charge for all lovers of art, culture and music. With the Nairobi edition, Liboi’s team wishes to explore themes like urbanization, mental health and environmental conservation.

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Mohamed Alby posing for a photo.PHOTO//Classic FM

About three weeks ago, a Kenyan Tik Tok sensation was sued for a video he published on social media without the consent of the subject in it. 

While sharing a court notice on his Instagram story, the content creator said that he would quit content creation because, “I have shot so many videos in the past months bringing smiles to people yet I am sinking mentally so badly because I am getting sued for making someone smile.” 

Alby Mohamed, a Kenyan Tik Toker and content creator who went viral last year for making puns at strangers with an aim of making them smile, seems to be crying foul when the subject of a recent video sued him. The plaintiff claimed that Alby secretly recorded and published a conversation they had for the whole world to see. As published by various reports, disturbingly, no media house seems to see the real issue.

One, no one is suing Alby for making people smile. What he is missing is the fact that as a content creator, he requires consent before recording and publishing content involving third parties. 

Issue of consent

Sure, Alby is extremely funny. His cheesy lines will leave your ribs cracking and your lungs hurting. However, a closer look into his filming technique, you will realize that there is almost always a hidden camera, one that captures a person’s reaction when they are being filmed. 

Perhaps, the issue of consent is largely ignored, or barely understood. In fact, just the other day, Kabianga University was sued on the premise that they used a University of Nairobi’s student photo for marketing purposes. The court presented them with a Kshs. 500,000 fine. 

Such stories show how brands easily use people’s media and information without their consent for their own benefits. Because what is the cost of hiring a photographer to take crisp photos for a marketing campaign? Still, what does it cost to ask for permission to post someone’s photo? And isn’t it absurd that a UoN student’s photo is used to market Kabianga University?

Why is this happening?

It would be inaccurate to assume that all Kenyan content creators publish content without seeking consent. When they do, it is often backed by reason. 

One possible reason is the desire for viral content or to gain social media followers. Content creators may post content that they believe will go viral or attract a lot of attention, even if it means using someone else’s personal information or images without their consent. This can be particularly tempting if the content creator is trying to grow their online presence and gain more followers or views.

Another possible reason is a lack of awareness or understanding of the laws and ethics regarding consent. Some content creators may not be familiar with the regulations surrounding the use of personal information or images and may not understand the importance of obtaining consent before posting content. This can lead to unintentional violations of people’s privacy and rights.

Additionally, some content creators may simply not care about the consequences of posting content without consent. They may prioritize their own interests or desires over the well-being of others and may not consider the potential harm that their actions can cause.

Regardless of the reason, posting content without someone’s consent is unethical and illegal in many cases. It is important for content creators to prioritize the privacy and rights of others and ensure that they obtain informed consent before using someone else’s personal information or images in their content.

What  does the law say?

According to Article 19 of the Universal Declaration of Human Rights, “Everyone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers.” By default, Alby is entitled to sharing content online. But as we are going to see below, his freedom has limits, and better still, is enshrined in the constitution of Kenya. 

The Media Council of Kenya’s  Code of Conduct for the Practice of Journalism in Kenya stipulates that, “Except in justifiable cases, a person subject to this Act shall not tape or record anyone without the person’s knowledge.” It goes ahead to say, “An exception may be made only if the recording is necessary to protect the journalist in a legal action or for some other compelling reason.”

On privacy, the code of conduct clearly illustrates that the journalist, and to a larger extent content creators, should not intrude on other people’s privacy unless whatever material they obtain is of public interest. It says, “Intrusion and inquiries into an individual’s private life without the person’s consent are not generally acceptable unless public interest is involved.”

The Kenyan Data Protection Act and Revisions

The Kenyan Data Protection Act (DPA) was enacted in November 2019, and it sets out the legal framework for the protection of personal data in Kenya. The Act provides for the right to privacy and the protection of personal data, and it also outlines the conditions for the lawful processing of personal data.

One of the key provisions of the DPA is the requirement for informed consent before personal data can be processed. This means that data controllers who in this case are organizations or individuals who collect, store, or process personal data, must obtain explicit and freely given consent from data subjects before collecting, storing, or processing their personal data.

A student reading a text book. It is important for content creators to seek and understand knowledge about consent. PHOTO//Zamzam

Creators like Alby need a refresher course on media laws and ethics to ensure such harmful and ignorant cases do not come up again. And while we wait for a good Samaritan to come and save the day, maybe all that content creators need to do is equip themselves with necessary knowledge about the business of content creation. Specifically, the inner workings of obtaining consent using legally binding documents such as a release form. 

This multimedia story was done by Brian Khavalaji, Zamzam Mohamed and Aisha Khalif.

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The event was graced by various uprising stylists, tattoo artists, fashion stylists, DJs, singers and art enthusiasts.

The event’s hottest Djs (Deejay Kyembo,Dj Proma and Dj Red Kenya) created the party mood as early as 11 am. Playing some of the finest Kenyan HipHop throwback songs, they evoked nostalgia as a segment of the attendants sang along, nodded their heads, clapped their hands and moved their bodies.

Unkut Party was not just about music, as various creatives showcased their works. In essence, it was a networking event, a business opportunity and a fun-filled affair.

The Climax of the day arrived in style, with back to back perfommances from some of the illest upcoming rappers and singers. These sets allowed the artists to perform their songs solo or as a group. And while Tulia, Therealhbkim, Gold Triggah, Amax, LB, and Sekoh George wondrously transformed the crowd into a sing-along, chanting maniacs; it was Attara that stole the show.

With her magical voice, she pruned the ego out of the people who were previously seated, and showed them that she was indeed the queen, making them join the wild crowd.

She sang with such flair, fierceness and exhilaration that the audience sang, “One more time! One more time! One more time!” Excited by the reception, she took the mic, colonized the crowd and held it by her hands, then commanded the demons of not appreciating the Kenyan talent enough out of it.

Attara performing on stage. Photo: Lyqso/ Fresh360

After her exciting performance, everyone, including myself, wanted to congratulate her, take her number, hug her and hype her some more.

I believe Attara is a promising singer, songwriter and rapper. Her artistry is greatly evident in her lyrical prowess, stage performance and mastery of craft.

Attara has the right attitude, is confident, creative and the future that the Kenyan Music and Entertainment scene needs to experience. She is a treasure and with little exposure, support system and appreciation, Attara will be the next big thing before you know it.

With such platforms, Unkut Africa continues to dominate promotion of Hip Hop culture in the 254. Uprising artists like Attara are products of such, and this is encouraging to say the least.

Featuring the most lethal uprising artists in Kenya, the Unkut Day Party proved to be dominating promotion of the Hip Hop culture.

The event, organized by Unkut Africa and held at Moov Cafe & Bistro in Kilimani showcased pure artistry from fine artists, body painters, tattoo artists, DJs, fashion designers/stores, musicians and rappers.

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The likes of Philit production continue to premier their movies around the country while commercializing their works through pay-per-view. The robust growth is undeniable, but it is worth noting that while we are growing, some parts still need work.

Filmmakers in Africa are embracing the African story, and streaming platforms must do so. Thanks to Netflix’s Creative Equity Scholarship Fund (CESF), 46 beneficiaries from Kenya, Uganda, Rwanda, Burundi, and South Sudan, will access quality tertiary education in film and TV-focused disciplines. This scholarship is a consequence of the giant streaming platform’s commitment to developing a robust and diverse pipeline of creatives worldwide.

All the beneficiaries are eligible to receive a full scholarship, including tuition, accommodation, a living stipend, and education supplies.

Courses they benefited from are, Certificate in Film Studies, Certificate in Film and Television, Film Production, and Diploma in Film and Television Production.

Kenya Fim School (KFS), United States International University (USIU), Kenyatta University (KU), KCA University, and Africa Digital Media Institute(ADMI) will support the formal qualification and training of aspiring storytellers from East Africa.

In his keynote address, Kenya Film Commission CEO Timothy Owase shared,

It is my strong belief that this initiative is proof that Kenya indeed can measure up to the rest of the world and offer the best.” He added, “It has also demonstrated enormous interest and opportunities for job creation amongst the youth and existing skill and knowledge in the Kenyan industry.”

Shola Sanni is the Director of Public policy SSA- Netflix. While sharing his personal story, he encouraged the awardees to find purpose in their actions. On funding, he affirmed that “At Netflix – it’s not just about the stories; it’s also about the people who make the stories. This is why today is all about celebrating the scholars who will be responsible for telling African stories, whether in front or behind the camera, and putting Africa on the global map through endless stories.

Furthermore, he offered, “The richness in creativity, talent, and diversity has never been in doubt. What is lacking is more opportunities.

This is why our role at Netflix in all this has been to open that door of opportunity just a little bit wider and allow; as a beginning, the 46 young East African beneficiaries of our scholarship to step forward and be challenged to tell great African stories.”

Emmanuel Wanyonyi, a beneficiary from KU, excitedly shared, “ It has renewed our energy to keep on presenting ideas and creating stories as we need them to be heard.

Charles Muasa is a student at USIU. He cited financial constraints as hindering film students from pursuing their dreams: “Netflix coming through for the youth is a great win. We are now getting the knowledge on how to bring stories to life.”

The program experience is currently great; learning, motivating, and inspiring each other. Coming together to create something from our imaginations, experiences, and lessons.”

Mwajuma Bahati of KCA said, “When some of us started out, there were barely any opportunities like these and this scholarship is such a powerful tool to venture in the industry equipped with the right skills, clear direction, and knowledge.”

As the youth, we are seeing the growth and evolution of the industry when it comes to techniques and stories, and Netflix’s investment in the youth is one standout nurturing opportunity.”Said Cynthia Muniu of KFS.

Even as these 46 beneficiaries start on a journey to train on telling the African Story, my sincerest desire is to see the existing filmmakers getting recognition and the support they need. Whatever happens, this is a massive development in the film industry. Let us wait and see what these youngsters will produce in the future.

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Prior to the festival selection, Rushlake Media acquired the film for international sales and will represent it globally.

Rushlake Media is a multi-platform network with offices in Cologne, Germany and Nairobi, Kenya, and a strong presence in the African market.

The film tells a story of a wheelchair-bound boy who is taken on an adventure by the cheeky girl next door, Kiki. Together, they try to see as many wild animals in real life as possible, and above all elephant Jumbo.

They come across evil poachers who make money hunting animals. The tale of Safari and his friend Kiki’s adventure touches on many elements of life in rural Kenya today. This is from living with disabilities to poaching yet still manages to convey the playfulness of traditional children’s adventure stories.

Safari is the company’s latest film aimed at young audiences, following the global success of Supa Modo and Liyana.

Director Bill Afwani is a film graduate from Kenyatta University. He started his career directing the award winning short film Sticking Ribbons for which he won Best East African Talent at the 2014 Zanzibar International film festival. Safari is his feature length film directorial debut.

Ruguru Phoebe, the film’s Producer, has twice been nominated as Young Achiever of the Year by African Women in Europe, and recognized winner of the same title by Women for Africa, 2016. Her first short film Saidia (2014), won Best Young Filmmaker at the Modern Day Slavery Competition in London.

Ruguru is the only Kenyan filmmaker to win best Film in Africa, at the AMVCA. Currently Ruguru works for Africa’s biggest broadcaster DSTV as a content executive.

The film’s writer and director, Njue Kevin has directed several award winning short films, before making his feature film debut, 18 Hours. The film was nominated at the Africa Movie Academy Awards for Best First Feature Film by a Director.

Njue was also featured on the Top 40 under 40 list by Business Daily Africa and most notably the FORBES 30 under 30 (Creatives in Africa) 2019.

The film was partially funded by the Kenya Film Commission (KFC), a state corporation under the Ministry of ICT, Innovation and Youth Affairs.

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