By Farayi Mungoshi

WHEN Zimbabwe went through the economic turmoil wrought by the illegal sanctions imposed by Britain and her allies and exited the Commonwealth, several sectors were severely affected, with the film industry being no exception.
Suddenly there were no producers, (mostly whites then); the NGOs that usually funded film projects stopped.
The industry was never the same again.
But the question that arises is: What is so special and difficult in the film industry that hampered indigenes from making it in the sector?
Zimbabweans filled up the gaps, in every sphere, that were created by the departure of whites who were not happy with the process of correcting wrongs wrought by colonialism. In agriculture, blacks have thrived. Today, we have a sizable number producing for the export market.
In business, blacks are also doing well, making up more than three quarters of the small and medium enterprises.
Why are we then poor at film-making?
Clearly, when the stars and film-makers from the old guard left the country, due to economic hardships, a vacuum was created.
But instead of new players coming to the fore to take advantage of the situation, there were few takers. And those who presented themselves for duty, it seems, did not care much for the craft besides earning themselves fame.
Zimbabwe is now open for business.
But, have film-makers paid heed to this important message?
Let us take a look at China: The country’s film and television sector, according to Oxford Economics: “…earned an estimated 2,1 billion Yuan in export receipts in 2014, or 0,15 percent of whole economy service exports. Of this, around 90 percent was generated by the film industry, with the remaining 10 percent due to the activities of television.
The sector’s 0,15 percent share of Chinese service exports compares with figures of 2,0 percent for financial services, 8,7 percent for telecommunications and 2,0 percent for insurance and pension services
China hosts a number of film festivals, including the Beijing International Film Festival and the Shanghai International Film Festival. The rising importance of these events to the domestic and international movie industries has mirrored the rapid expansion of the Chinese film market.
They provide a platform for the US and other overseas film industries to showcase movies, and to build relationships with counterparts in China.
This is highlighted by the planned launch of the first Qingdao International Film Festival in 2017. As well as promoting domestic productions and upcoming foreign releases, the festivals show highly regarded Chinese and overseas films from the past (such as ‘Hollywood classics’).”
And the question remains: Now that Zimbabwe is open for business, can we really break onto the international scene again as film-makers as well as attract and strike deals with international film stars and film companies?
Like I alluded to last week, local musicians have done it and film-makers must take a leaf from them.
Arrogance could be retarding the growth of the industry. The youngsters, exposed to latest gadgets that veteran film-makers did not have, feel they have nothing to learn from the old dogs. But film-making is more than ability to manipulate gadgets.
Some of the older film-makers I have had the opportunity to chat with at premieres and launches all say the same thing: “Vapfanha vacho vari arrogant.”
The gap created by the years of economic turmoil needs to be mended.
Yes, the gap might be generational but there are still some film-makers from the older generation willing to pass down knowledge to the younger, more techno savvy generation.
It is not a secret that things have changed or rather film and technology have changed since the days of the Ribers and continue to change.
If you are not careful, you can get left behind while everybody else is moving forward. The donors have disappeared but it is no longer as expensive to make a film as it used to be. What is critical is that the young work with the old. The veterans of the industry need to work with the younger in the same manner Oliver Mtukudzi has worked with younger musicians like Jah Prayza and Winky D, among others.
Presently, our film-makers have failed to deliver and it has nothing to do with funds but a lack of seriousness in their craft, it appears. Who of our film-makers, actresses and actors really deserve their titles?
It is sad that we recognise more South African actors and actresses than Zimbabwean because we see them on multiple platforms. It is time professionalism reigns supreme in the industry; it long went out of the room.
For instance, when it comes to casting characters for movies, it is better to give the lead role to a seasoned actor than to take the role yourself simply because you wrote the script, and you are also the producer and director — that is not team work. It is costing the industry dearly.
A rebirth of the film industry is only possible when unity binds the sector.