The Sunday Mail
WHILE the film industry, the world over, creates millions of dollars for actors and actresses, locally it is a different story, it is one of agony and misery.
The labour in the local film industry is unfruitful — only passion keeps players in the trade.
Before the turn of the millennium, the local film industry was vibrant and envied by other countries in Southern Africa.
The making of big international productions such as the 80’s “Cry Freedom” and “King Solomon’s Mines” in the country was a source of optimism for a brighter future for the industry.
Following this, notable films like Neria (1992), More Time (1993), Everyone’s Child (1996), Flame (1996) and Yellow Card (2000) were produced.
Unfortunately the trend changed and Zimbabwe now plays second fiddle to countries like South Africa, Namibia and Botswana.
Not only have we lost talent to the aforesaid countries but television programmes from the concerned countries have also become the most preferred by Zimbabweans ahead of domestic productions.
Satellite television has become part and parcel of almost every household in the country be it in the urban or remote areas.
And programmes like “Generations”, “Scandal”, “Muvhango”, “Rhythm City” and “Isidingo” have proved popular ahead of local productions like “Sabhuku Vharazipi”, “Fidelis”, “Bag Rabvaruka” and “Go-Chanaiwa-Go”.
This preference has further diminished recovery prospects of the local film industry. Low budget productions have created an illusion of a recovering industry yet all is not so rosy in the sector.
Market watchers are of the view that there is no film industry to talk about in Zimbabwe.
Film producers say they have soldiered on with production not because of financial benefits but because of passion and the need to help create employment.
In an interview with The Sunday Mail Leisure last week, local film producer Von Tavaziva, better known as Detective Chanaiwa in the series “Go-Chanaiwa-Go”, said the industry was not going to improve unless genuine sponsors come on board. While top companies like McDonald’s, Pepsi, General Motor Company, Ford Motor Company and Fiat Chrysler Automobiles battle to sponsor Hollywood movie productions for perceived advertorial benefits, local companies on the contrary compete in making false promises to producers. In cases where sponsors have come on board, content has suffered as the companies over-promote their interests as was the case with Studio 263.
Sponsoring a production guarantees publicity for the concerned company.
“I started movie production in 2006 and have been to every office in the country, but nothing is coming through. Company officials have only told me that I have a good product but literally they are not willing to sponsor us.
“It is against this background and the passion I have for film that I have taken it upon myself to self fund and continue creating employment for my cast,” said Tavaziva. To date, the multi-talented (writer/producer/actor/director) Tavaziva has released more than four productions on the market.
Lack of sponsorship, he notes, has contributed to the creation of poor productions that have failed to compete favourably with other regional productions.
Most producers have managed to keep their productions afloat by selling their products on street corners to get direct monetary value and curb piracy.
Tavaziva said lack of funding was going to eventually collapse the industry that is already in the “intensive care unit”.
“We do understand that the economy is not doing that well, but at least corporates should support our effort. I cannot hire a good production team that includes the camera person and sound engineers because their asking price is beyond my reach therefore I always settle for cheaper options, which in turn affects our end product,” he said.
“I’m happy that people are producing despite challenges. My concern though is now on declining sales due to the prevailing liquidity crisis. People no longer have money to spend on luxuries. Also piracy has affected us though it has helped popularise our work,” adds Tavaziva.
Another Zimbabwe filmmaker, Joe Janga, notes that the absence of sponsorship has created room for NGOs to manipulate the film industry. The development, he opines, was further lowering standards.
“They (NGOs) have been controlling the process and it has even impacted on the message to be conveyed to the audiences. Producers should not be told what to produce,” he argues.
And the challenges bedevilling the film industry have not only affected producers as actors are also in a fix.
Local “celebrities” have had to be content with joining their bosses in selling copies of their work on street corners, a phenomenon that is taboo elsewhere.
