After Hollywood and Bollywood, Kenya has “Riverwood”
By Arjun Kohli
NAIROBI (Reuters) – The black sports car maneuvers through
the shoppers thronging Nairobi’s River Road and stops.
“Ringtone,” a Kenyan gospel singer, steps out and heads into
Nduti One Stop Shop to check on sales of his latest music
video.
“He’s sold more than 10,000 videos in the last five months.
People like watching songs of prayer,” says shop worker Vera
Washira, sticking labels and price tags onto stacks of CDs and
cheap digital videos known as VCDs.
This bustling street in Kenya’s capital is at the heart of
a flourishing low-budget video market, nicknamed Riverwood in a
nod to the movie-making heartlands of Bombay and Los Angeles.
It’s a market Kenya’s fledgling film industry wants to
conquer. Film makers in the predominantly Christian country see
the success of home-grown gospel music videos, by singers like
“Ringtone,” as one reason for optimism.
Local film makers have also been inspired by the success of
Nigeria’s film industry, known as Nollywood.
Nollywood, which produces low-budget films, took off after
cash-strapped Nigerian producers, priced off the big screen,
turned to the made for video market.
Now, Nollywood films are hugely popular across east Africa,
despite pedestrian scripts and often wooden acting. Nollywood
soap operas are shown on satellite television in Kenya as well
as on local channels, which favor foreign programs.
Movie lovers in the former British colony can also watch
the latest releases from Hollywood in cinemas.
Changing these tastes is a priority for Kenyan film makers.
“It’s about time we saw things that are familiar to us and
the world we live in day-to-day,” says actress Lucy Nyaga.
TAKING FILMS TO THE PEOPLE
The success of gospel music videos — which have no story
line but show stars singing outside their homes or in quiet
gardens — has helped foster a taste for home-grown videos,
which nonetheless must compete for buyers with offerings from
Nollywood as well as cheap pirated versions of Hollywood films.
Films and music videos are sold on streets, in markets and
in retail stores for just 250 shillings ($3.40) each — meaning
returns can be very low for film makers.
River Road is at the heart of the distribution network.
“I come and buy discs here and then sell them at my stall
in Makweni district,” said Pauline Muthoko after purchasing 200
discs at Nduti One Stop Shop.
Those working in the industry say it is essential to
harness this hunger for videos to promote home-made movies.
“I want to make six films by the end of the year. If I can
penetrate this (home-grown) market, I’m there,” says Alison
Nguibuini, a producer who worked on the 2005 film, “The
Constant Gardener,” parts of which were filmed in Kenya.
Until now, Nguibuini’s main job has been to facilitate
foreign crews working in Kenya. “It is through Riverwood that
the local stars will emerge. How else to make Kenyan stars
except by taking films to the people?”
Across Africa, the advent of digital technology has made it
easier for film makers to produce movies — digital cameras are
cheaper and the film can be stored on computer hard drives,
edited and distributed for a fraction of the costs involved
with traditional 35 mm prints.
But film makers are still hamstrung by a lack of investment
as well as small audiences in countries where most people will
never be able to afford a cinema ticket and many do not own
televisions.
MAGIC
Kenyan TV channels have few funds or incentives to support
the local film industry since they can buy foreign-made
programs for less. There are also few film grants.
“The ministry recently discussed a 60 percent quota for
local programming. They said they wanted this in one year. No
one in the world can do that. The industry has to grow into
it,” says Charlie Simpson, owner of Kenya’s largest private
film studio in Nairobi.
Nollywood generated some $200 million since 1992, according
to the Nigerian Copyright Commission.
Kenyan producers say they too can make a significant
contribution to the economy, and there are some prominent
international figures committed to developing stories told and
produced by Kenyans and other east Africans.
Indian director Mira Nair has created the “Maisha
Laboratory,” which helps east African screenwriters and
directors develop scripts.
Authorities have also made it easier for foreigners to
shoot in Kenya by creating a film commission and a favorable
tax structure under which production companies can operate.
If the home-grown film making industry is still in its
infancy, it does have one advantage — Kenya itself.
The country has long been a favored location for foreign
directors. The 60 or so foreign films made here include
classics like “Out of Africa” and “Born Free.”
“I don’t know any director who hasn’t wanted to come back,”
said Jenny Pont, a producer who has worked with many of the
foreign film crews. “There’s a certain magic here.”