The Ugandan film industry has experienced notable growth fueled by captivating local narratives, better-paying media platforms for showcasing talent and an audience eager for relatable stories.
However, despite this progress, the industry continues to grapple with significant challenges, including inadequate funding, poor infrastructure and limited government support.
According to stakeholders, without substantial policy reforms, the creative energy of Ugandan filmmakers may remain untapped, leaving the industry unable to compete on regional and global platforms. From stronger copyright enforcement to meaningful tax incentives for filmmakers, many believe that a well-structured policy framework could transform Uganda’s film industry into a global contender.
Dr Jessica Ahimbisibwe, founder and executive director of Cinema UG, a film marketing, branding and distribution company, and executive director of Women in Film, acknowledges that even though the Uganda Communications Commission (UCC) made strides in scaling up training and skilling filmmakers, there is the pressing need for tax reforms and other incentives.
“Taxes on equipment needed to make films are incredibly high, especially on essential items like special-effects makeup kits. Many filmmakers are forced to produce mediocre work because they cannot afford the tools needed to create quality films,” Ahimbisibwe says.
“If someone makes a film that showcases our culture, history, or addresses critical social issues like gender-based violence or mental health, the government could support such projects by sponsoring nationwide screenings or broadcasting them on major television platforms.”
She also points out the absence of incentives for international filmmakers who might otherwise consider Uganda as a prime shooting location. This lack of support has resulted in global filmmakers bypassing Uganda in favour of other African countries with better policies.
COPYRIGHT AND PIRACY
Ahimbisibwe identifies weak copyright laws and lack of robust legal frameworks to combat piracy as significant barriers to the industry’s growth. Many filmmakers, she notes, shelve their movies after premiering them because of concerns about copyright infringement and piracy, despite having invested heavily in these projects.
Recently, a discussion on X (formerly Twitter) highlighted the inaccessibility of Ugandan films. One user lamented, “It is frustrating how hard it is to find Ugandan movies. They’re not on Netflix, local libraries, or even illegal sites. What’s the point of making these movies if no one can watch them? If you don’t have DStv, you’re out of luck. Can’t we figure out a way to make these films more accessible?”
Ahimbisibwe agrees, saying many filmmakers choose to withhold their work from the public due to the lack of proper distribution channels and copyright protections.
“For instance, there are filmmakers who spend quite a hefty sum to produce a movie. Without proper intellectual property protections or distribution structures, there’s no way they would just release it for free. Instead, they might limit screenings to cinemas or showcase the film at international festivals where their work is protected.”
She adds: “Imagine if we had strong policies where someone caught with an illegal copy of a film faced prosecution and penalties. Filmmakers would feel more comfortable sharing their content.”
Ahimbisibwe and her team at Cinema UG once developed a mobile app to stream Ugandan films, but concerns about piracy and copyright violations forced them to halt the project.
“Without legal structures to protect filmmakers, innovations like this cannot thrive,” she explains.
However, MP Rachel Magoola, the chairperson for the Parliamentary Forum for Creative Arts, says the copyright law has been amended to address many concerns raised by artistes and is ready to be brought before parliament for reading. She, however, notes that there is still need to establish monitoring systems and trained personnel to implement the copyright law to achieve its intended objectives.
FILM AS A KEY ECONOMIC DRIVER
Ahimbisibwe believes that the government has not fully recognized the film industry’s potential as a significant economic driver capable of employing thousands of young people.
“A single feature film can employ at least 50 people for two to three months. TV series can engage a minimum of 130 people, depending on the number of seasons and episodes. For instance, ongoing TV shows like Crossroads employ over 100 people. Imagine if the government funded just ten projects a year; how many jobs would be created?”
She also notes that taxes collected from filmmakers have surged in recent years, partly due to requirements from companies like MultiChoice, which demand registered businesses, trading licenses, tax identification numbers, and proof of annual income taxes. Filmmakers must also pay fees to the Kampala Capital City Authority (KCCA) for permits to shoot in public locations.
Magoola, however, notes that the government is aware of the immense economic potential of the film industry and has started funding film projects through UCC’s Content Development Support Programme (CDSP), which provides support to Ugandan production companies and individuals.
“In 2023, UCC granted 14 filmmakers a grant of Shs 1.2 billion in the second edition of CDSP to support them in producing their projects. During the first cohort in 2021, four film projects had been awarded grants under the same program. Recently UCC supported the production of Matt Bish’s latest film, Janani; The Last Stand, which premiered last December,” she says.
POLICY REFORMS
“The forum is in the process of amending the institutional and regulatory frameworks and policies that exist, which are inhibitive to the growth of the creative sector.” Magoola says.
Some of the policy’s strategic objectives include enhanced funding, providing entrepreneurial and 21st-century skills to prepare culture and creative industries practitioners for the job market, strengthen collection of commissions, support and promote incentives for infrastructure development for arts industries, harmonise regulatory reforms especially in relation to intellectual property rights and tax incentives, create an enabling environment for trade in creative goods and services at national, regional and international level.
“We intend to push for reforms and policies which will deliver those objectives. On February 4, that policy was disseminated to all industry players, and we hope that it will give a guide on the laws and regulatory frameworks that will govern the different sectors of the creative industry,” Magoola, herself a performing artiste with Afrigo band, adds.
With already existing support from the European Union, GiZ and the British Council, Magoola is also in talks with the Law Reform Commission to work on an Arts Council Bill. This will be the first step towards consolidating the creative industry into one government body since it is currently housed under six different ministries that don’t prioritize it.
Industry stakeholders propose establishing regional film hubs where filmmakers can access equipment, receive training, collaborate, and seek support in cases of exploitation. However, filmmakers have also been advised to aggressively advocate for policies that support industry growth and form a unified association to amplify their voice and step out of their comfort zones to create compelling stories that attract investors.
Uganda risks falling behind the rest of East Africa unless it adopts strategic reforms for the industry. For example, Kenya has established the Kenya Film Commission, which offers tax rebates and incentives to international filmmakers alongside programs that promote local content on global platforms.
Tanzania has implemented favourable policies through the Tanzania Film Board, which regulates and promotes film production while providing support to filmmakers for international exposure. Similarly, Rwanda’s film industry benefits from government-backed initiatives like the Rwanda Film Office that actively markets the country as a film destination while streamlining permits and production logistics.
Without similar frameworks, stakeholders worry that Uganda’s film industry will struggle to compete regionally and globally; therefore, by learning from these examples, Uganda can create a thriving ecosystem that supports filmmakers, promotes cultural narratives and attracts both local and international investment.
Stakeholders believe that time for government to act is now by prioritizing reforms, improving infrastructure and fostering a supportive environment since Uganda has the potential to become a hub for cinematic excellence in East Africa by showcasing the richness of its stories to the world.
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