Reel Talk and Cinematic Insights
Leonard Chibamu
Zimbabwe has no shortage of stories, no shortage of raw talent, and certainly no shortage of creativity. Yet, despite this undeniable potential, the country’s film industry struggles to move from captivating audiences on an artistic level to capturing the financial investment necessary to thrive. It’s a conundrum that has dogged Zimbabwean filmmakers for decades: why is it that our stories, rich in culture and authenticity, fail to break into the global market in a way that brings the financial rewards they deserve?
The simple answer is that filmmaking is, above all else, a business. And like any business, success hinges on the ability to not just create a product but to create one that people will pay for—whether those people are ticket-buying audiences or investors willing to put their money on the line. This is where Zimbabwe’s filmmakers often stumble. Many of us have mastered the craft of storytelling, but we lag behind when it comes to writing for the marketplace—crafting narratives with the kind of commercial appeal that attracts serious funding and financing. It’s a shift in mindset that has the power to change everything.
Let’s start by addressing what has become a major sticking point for the industry: writing. For Zimbabwean filmmakers, writing is still seen primarily as an art form—an expression of culture, identity, and emotion. This is crucial, of course. However, to succeed in the competitive global film market, it’s equally important to think of writing as a business tool. Writing for film should not only seek to move hearts but also to move wallets. This might sound cynical, but it’s the hard truth of an industry where funding often hinges on the marketability of a project long before a single frame is shot.
Herein lies the disconnect: Zimbabwean filmmakers tend to write for the local audience, for personal satisfaction, or to highlight social issues. While there’s value in all of these, writing must also anticipate the expectations of investors and distributors who often look for something more tangible—a return on investment. This does not mean our stories need to lose their authenticity or cultural relevance; it means they must be packaged in a way that speaks to the broader, commercial aspects of film production.
A significant part of this packaging involves genre. Globally, genres like action, comedy, romance, and thrillers dominate the box office. These genres have wide appeal and are easier to sell to distributors and investors because their financial returns are relatively predictable. Yet, in Zimbabwe, we tend to shy away from these genres, opting for character-driven dramas or films that tackle heavy social issues. These stories, while powerful, are often difficult to pitch to investors because they don’t guarantee the kind of commercial success that makes film financiers feel comfortable.
If we want to unlock investment, we need to learn how to write in these more marketable genres while still maintaining the Zimbabwean heart of our stories. High-concept ideas—those that can be summarized in a single sentence and immediately grab attention—are another tool we need to wield more effectively. In Hollywood, a film like Jurassic Park can be described as “dinosaurs run amok in a theme park.” That’s high-concept: it’s easy to sell, and it sparks immediate curiosity. Zimbabwean filmmakers need to create more projects with that kind of appeal.
But the story is only one half of the equation. The other half is understanding the difference between funding and financing—and why Zimbabwean filmmakers often struggle to secure either. In this context, funding refers to money that does not need to be repaid, such as grants, donations, or sponsorships. On the other hand, financing refers to investments or loans that expect a return—money that needs to be paid back from the film’s profits.
Most filmmakers in Zimbabwe rely heavily on funding, particularly from NGOs or international organizations that have specific agendas. These types of funds often come with strings attached: the film must address certain social issues or promote specific cultural narratives. While this funding is valuable, it’s also limited and often doesn’t allow filmmakers the creative freedom or the resources to produce the high-quality, globally competitive films we need to be making.
On the flip side, financing—which is more sustainable in the long run—is something many Zimbabwean filmmakers shy away from because it requires a detailed understanding of the business side of filmmaking. Financing means convincing investors that your film has the potential to make money. It requires you to present not just a compelling story, but a business plan that shows how the film will generate profits—through box office sales, streaming deals, merchandise, or even international distribution.
Here’s where the problem becomes stark. Many filmmakers in Zimbabwe don’t approach their work with the kind of financial literacy required to secure serious financing. Investors want to see numbers. They want to know how you plan to sell your film, what your marketing strategy is, and how you will make back their money with interest. Filmmakers need to learn how to package their projects in a way that demonstrates not just artistic merit, but financial potential. This means learning how to create pitch decks, secure pre-sales agreements, and negotiate distribution deals—skills that, frankly, many of us in Zimbabwe have yet to develop.
Another issue Zimbabwean filmmakers face is the mismatch between the size of their ideas and the realities of the film industry’s financial ecosystem. We dream big—we write grand stories that require elaborate sets, special effects, and large casts. Yet, we often don’t have the financial backing to pull these visions off. The result? Many projects either don’t get off the ground or end up as low-budget films that fail to compete on the international stage. Filmmakers need to be realistic about their budgets from the very beginning. Writing for the resources you have is not a limitation; it’s a discipline that can lead to more creative, tightly crafted films.
The failure to attract funding and financing for Zimbabwean films is not just about a lack of money; it’s about a lack of strategy. Filmmakers need to learn to write with the investor in mind—not in a way that compromises the integrity of the story, but in a way that aligns the narrative with the expectations of the marketplace. Investors are not interested in charity; they want to know how your film will make money. To answer that question, you need more than just a good script—you need a comprehensive business plan that includes budgeting, marketing, and distribution strategies.
This is not to say that Zimbabwean films should all aim to be blockbusters or that we should abandon our roots in favour of Hollywood-style productions. On the contrary, Zimbabwe has a unique voice, one that is rich in cultural, historical, and social relevance. But suppose we are to transform the film industry into a viable, profitable sector. In that case, we must begin to approach filmmaking with the same rigour and discipline that is applied in any other business. This means writing stories that can appeal not just to our local audience, but to a global market. It means learning how to pitch ideas to investors in a way that highlights both the artistic and financial value of a project.
The question remains: why are Zimbabwean films, which are artistically brilliant, often seen as risky by potential investors? The answer is complex. Part of the issue lies in perception—many investors still view African films as niche products, limited in their global appeal. There is also a historical bias that suggests films from smaller markets, like Zimbabwe, cannot compete with the production quality or commercial viability of films from larger industries.
However, this perception is slowly shifting. The global success of films like Black Panther and The Woman King has proven that there is a market for African stories. Zimbabwean filmmakers are well-positioned to ride this wave, but only if we start to view our industry through a more commercial lens. We need to stop treating film as just an art form and start treating it as the multi-billion-dollar industry that it is. This doesn’t mean we need to compromise our stories. It means we need to frame them in ways that attract investors, distributors, and audiences alike.
Zimbabwe has what it takes to build a successful, self-sustaining film industry. The stories are here. The talent is here. What’s missing is the strategic thinking that will allow our filmmakers to turn these stories into marketable products. If we can master the art of writing for both artistic and financial success, funding and financing will follow. It’s time to bridge the gap between the beauty of our narratives and the demands of the marketplace—and in doing so, create a film industry that not only tells our stories but turns a profit while doing it.
Leonard Chibamu, a financial analyst and PhD student at the Catholic University, specializes in the bankability of the creative sector. He is a prolific filmmaker, writer, actor, and producer, known for the drama series ‘Village Secrets’. Internationally recognized for his expertise, Chibamu advises African bodies and contributes to film business discourse. As a philanthropist and director of LeoChi Media Consultancy, he promotes arts. For feedback contact him at chibmediastudios@gmail.com or +263773292646.
