Likarion Wainaina (R) director of 'Supa Modo' with Sam Psenson at premiere of the film at Nairobi Film Festival
By Margaretta wa Gacheru (posted 3 April 2018)
It’s official! There’s no longer any doubt that the Kenyan
film industry is on the move. Leave alone the Kalasha International TV and Film
Market which took place last weekend. What matters is that Kenyans are actually
making films. And while film sales are critical too, what is primary is
creating masterful movies to sell!
That process was confirmed all last week when the Nairobi
Film Festival premiered four Kenya-made movies. Two were world premieres,
namely ‘New Moon’ by Philippa Ndisi-Hermann and ‘Disconnect’ by Tosh Gitonga;
while, the other two had been launched elsewhere before they came back to Kenya.
One was Likarion Wainaina’s ‘Supa Modo’ which just won the 2018
Berlin Biennale award before returning home for its Kenyan premiere at Prestige
Plaza. The other was ‘Silas’, an amazing documentary codirected by Hawa Essuman,
who’s best known for directing ‘Soul Boy’ back in 2010.
‘Watu Wote’, the film nominated for an Academy award this
year, was also screened at the Festival, which was organized for a second time
this year by Sheba Hirst, founder-CEO of Rainmaker Ltd. (which runs The
Elephant with her husband Eric Wainaina) and Mbithi Masya who won accolades last
year for directing “Kati Kati”.
The overwhelming turn-out for the festival was another
indicator that the local film industry is taking off. In fact, local audiences
are often accused of preferring Hollywood films to Kenyan ones. But the way all
the premieres sold out proves that local interest among Kenyan audiences is on
the rise.
Nonetheless, Likarion Wainaina sent out notice after the ‘family
screening’ of Supa Modo last Saturday that local cinema sites were still
skeptical of booking Kenyan films because they don’t see audiences filling the
seats. ‘Supa Modo’ officially closed yesterday at Westgate and Prestige Plaza.
But if we were able to watch the film, we might have contributed to changing attitudes
among the mall owners.
‘Supa Modo’ is definitely one film that deserves all Kenyans
coming out to see. It’s a beautiful though bitter-sweet story about a little
girl named Jo (Stycie Waweru) with a big imagination who’s been diagnosed with
a terminal disease. Her mom (Marianne Nungo) chooses to take her home to die in
peace. Yet Jo loved watching movies at the children’s hospital, especially ones
with super-heroes in them. She’s not really happy going back to rural areas.
But it turns out to be a blessing as the whole village gets involved in
fulfilling Jo’s dream, which is to make a super-hero movie in which she’s the
super-hero.
The film is magical and masterfully co-written with Likarion
providing the core story idea. Then Mugambi Nthege, Silas Miami, Wanjeri Gakuru
and Kamau wa Ngungu crafted the script to create a film that’s already booked
to be shown all over the world.
The two documentaries were ‘Silas’, an inspiring and
important story about a courageous Liberian environmental activist that Hawa
Essuman codirected with Canadian filmmaker Anjili Nayar; and ‘New Moon’, a
contemplative autobiographical memoir that rambled from being about the
forthcoming construction of the Lamu port to being about Philippa’s conversion
to the Sufi branch of Islam.
Both women had to surmount exceptional odds to complete their
films. Hawa and Anjili’s choice to travel across the continent to film this
man, who was Liberia’s equivalent of Kenya’s Professor Wangari Maathai, posed a
huge challenge in itself. But clearly they believed in their subject and his
sterling style of fighting corruption (including that of Ellen Johnson Sirleaf’s)
with carefully researched and well-documented facts. One only wished Philippa
had found a comparable conviction before she started making her film.
But the film that capped off the festival and clearly
thrilled a whole generation of millennial film-lovers was ‘Disconnect.’
Applauded for the fashion, high style, fabulous musical sound-track featuring
great tunes form Sauti Sol, brilliant cinematography and luxurious lifestyle, ‘Disconnect’
felt otherworldly.
The paradox of the film is that Tosh Gitonga and his
outstanding cast have every right to be proud of producing a film made with an-all
Kenyan cast and crew. But at the same time, the filming locations are so
ultra-elite that either it doesn’t feel like the film was made in Nairobi or
else it’s a Nairobi that’s reserved for the elites, the uber-rich and/or the privileged
children who’ve enjoyed the best of Western culture and education.
Perhaps that paradox is the point of Tosh’s script since the millennials
who are his protagonists look like they’re luxuriating but they’re also look
lost and ‘disconnected’ from reality.
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