The Sunday Mail
Prince Mushawevato
THE local film industry has played a crucial role in promoting nation building since the country gained its independence on April 18, 1980 though the sector’s growth has somewhat stagnated in the last decade.
Themes ranging from social, political and economic issues have been well articulated and equally embraced by both small and big screen lovers. Through films, contentious issues like polygamy, inheritance, sex, illness and politics have been tackled and simplified in a humorous manner.
Accordingly, the power of film has only been misjudged by ignorant individuals. Apart from educating, the motion picture industry has proved to be an alternative source of employment for thousands of Zimbabweans.
Talent in the form of actors, directors and producers has been identified and nurtured. However, what is disturbing is the fact that the industry, which started on high note seems to be seriously retrogressing. Just like any other sector in the country, the film sector has been adversely affected by lack of funding.
In the process, various talents in the film sector have crossed the country’s borders in search of the proverbial greener pastures.
Zimbabwe’s pride and export to Hollywood, Tongayi Arnold Chirisa notes that local film standards are below par but there is potential for unimaginable growth. He, however, argues he is still open to come and feature in local production and to assist in any other ways.
“If we don’t have the money to make films, let’s at least write the scripts that tell our story so that when Hollywood or people with money come looking for them we will be ready. I’m open to work with local producers but we need tight scripts that spur our brands internationally,” Chirisa said in a recent interview.
The local fill industry has indeed been a case of moving a step forward and two backwards. With Zimbabwe losing talent to other countries and foreign television programmes becoming the most preferred on our screens at the expense of domestic productions, many people are starting to wonder if the yesteryear spark that characterised the motion picture industry will ever be restored.
Before the turn of the millennium, the local film industry was vibrant and envied by other countries in Southern Africa. With big international productions such as the ‘80s “King Solomon’s Mines” and “Cry Freedom”, there were indications of a brighter future in the industry.
Notable films like “Neria” (1992), “More Time” (1993), “Everyone’s Child” (1996), “Flame” (1996) and “Yellow Card” (2000) further spurred the hopes of brighter days to come.
But the momentum fizzled out.
Low budget short film projects that are highly entertaining and educational but with little or no impact on the global movie arena now dominate the industry. While producers argue that the short films are simply a launching pad for bigger things to come, critics argue these are solid steps towards the total collapse of the film industry.
Veteran actor-cum-producer Jesesi Mungoshi says, “The problem is we started at an advanced stage. Our film industry kicked off on a high note. We were ahead of many countries. These short film projects are a necessary step towards film industry development but the problem is that in our case it now appears more like regressing considering our previous achievements. The industry is simply self-correcting.”
Besides production funding constraints, the sector has also been affected by a lack of investment in film training institutions and piracy.
Thirty-six years down the line, the Zimbabwe Film and Television School of Southern Africa (Ziftessa) is the only reputable local film training institute.
Hundreds, if not thousands of short films, like “The Other Side”, “Dance”, “Vhuserere”, “Tirabu”, “Checkmate” and “Dystopia Paruzevha” have been produced. Among the countable few feature films that have come through after the turn of the new millennium are “Lobola” and “Gringo (Troublemaker)”.
A number of players in the film industry argue that there is no proper funding to support the shooting of feature films and thus, they have to continue with the short film projects with a hope of a breakthrough in the near future.
Film producers are, nonetheless partly to blame.
They have failed to create scripts that lure corporate support.
Again in cases where sponsorship has been secured, it has equally compromised content like was the case with Population Services International and the soap opera, “Studio 263”.
The predicament is sad considering that top companies such as McDonald’s, Pepsi, General Motors, Ford Motor Company and Fiat Chrysler Automobiles battle to sponsor Hollywood movie productions for perceived advertorial benefits.
The aforesaid companies only push for visibility of their brands in the final product but have little or no say in the content structure.
The completion of Zimbabwe Broadcasting Corporation’s digitisation programme, which will result in a huge appetite for content, is expected to improve the waning fortunes of local filmmakers.
Moreover, the coming on board of Zambezi Magic has also provoked the much anticipated mind-set shift from short to feature films.
Says ZBC acting chief executive Patrick Mavhura: “The appetite for content is going to be huge. In as much as we will secure content from outside the country, our bias will be towards local producers. The digital migration is a game changer. The film industry is going to become vibrant again.”
