Young Kenyan Filmmakers and Cinephiles Turn to Alternative Screening Spaces as Distribution Options Remain Limited

Picture this: you are seated at a cozy screening space with around fifty people for a showcase of Kenyan and African films. An intimate audience moves through a spectrum of emotions, from cheers and laughter to sadness, while watching films that resonate with their experiences. This event, despite its small size, reveals something larger: change may be underway, and independent cinema could hold the key to a more vibrant film ecosystem.

Over the past months, I have attended several such intimate gatherings for film lovers in Nairobi. Alternative screening spaces have been springing up across the city, with film screenings and discussions taking place almost weekly. Filmmaker Calvin Oyula believes the industry’s future depends on sustaining this growing appetite for exhibition and film culture.

“The Kenyan film industry is not yet at its peak, but it is at a powerful transition point,” says Oyula. “The spirit of possibility is very strong, and young filmmakers today have genuine reasons not to quit.”

The Kenyan film industry has grown steadily over the last few years. In 2024, the industry recorded the highest number of films produced in a single year, with over twenty features. But structural challenges still persist, including the ongoing debate about how best to meet audience needs in a market with limited distribution pathways.

In our 2025 analysis Too Expensive, Too Few, Too Unstructured: The Crisis in Kenyan Cinemas and the Case for Saving Them, we highlighted this very issue: how Kenya, a country with over 50 million people, has only 12 cinemas and 43 screens – or 14 cinemas if you include independent venues like Unseen Cinema and smaller private theatres such as Nyumba Cinema.

Ramah Komora, the founder of Film Sunset, reveals how distribution concerns led to the creation of their outdoor screening program.

“Back in 2018, I co-founded a film production company called Esko Filmworks. While we were proud to have produced impactful films, we consistently struggled to generate a return on investment or secure enough funding to support future projects,” says Komora. “That challenge sparked the idea for Film Sunset: a platform where we could exhibit our films directly to our audience and thus raise funds and awareness for our work. Over time, it evolved from just a screening platform into a full-fledged cinematic experience that brings people together outdoors, under the stars, to connect through storytelling.”

As they say, necessity is the mother of invention. With limited exhibition opportunities, filmmakers and film lovers have come together to foster this culture in spaces they can truly claim as their own. Most of these spaces, like Film Sunset, began as intimate gatherings for young, independent filmmakers like Komora to showcase their works, but have continued to see audiences grow with every edition.

For Komora, the explanation is simple. “We’ve noticed a significant increase in interest in Kenyan and African cinema,” he says. “Audiences are showing up, they’re asking questions, discussing themes, recognizing filmmakers, and seeking out more local films outside our events.”

Komora adds that there is a growing pride and curiosity around African stories told by African creators, and “a desire for film experiences that feel personal, communal, and rooted in our own stories.”

Filmmakers like Maurice Kiema see the intimate environment as a career-making advantage. “These alternative screenings feel more community-driven. Filmmakers get to meet each other, get feedback, talk shop, and actually engage with audiences face-to-face,” he says. “They’re helping shape an audience from the ground up that genuinely appreciates Kenyan stories, not just blockbuster entertainment. That kind of interaction is rare in traditional setups.”

Fellow filmmaker Casper Anachoni, who has released some of his films theatrically, echoes this sentiment, pointing to what he sees as a lack of meaningful support for local films in Kenyan cinemas.

“The theatres could promote local films strongly as they do with international films. They could also offer fair screening terms so that filmmakers are able to generate revenue and grow the local cinema scene,” Anachoni says.

There is a lot of distrust and finger-pointing between local filmmakers and exhibitors. On one hand, filmmakers decry the lack of support and what they see as an unfavourable theatrical model. On the other, exhibitors argue that filmmakers often have unrealistic expectations and lack business knowledge about films and their commercial viability, as pointed out by Jotham Micah, Marketing Head at Century Pictures, in our aforementioned 2025 analysis.

Surprisingly, most organisers of these alternative-screening spaces agree. However, Amos Cheruiyot, founder of Filmmakers Hangout, argues that the tension filmmakers face between art and commerce isn’t entirely their fault, and that a bit of patience, understanding and training is needed.

“Many filmmakers are still mastering the business side of film,” says Cheruiyot. “However, not all filmmakers are the same; we see capable, business-savvy producers alongside purely creative practitioners who need training.”

One of the more business-savvy filmmakers among his peers, Cheruiyot, popularly known as ‘Guzman’, founded Filmmakers Hangout in 2024 not just as a screening space but as a platform where filmmakers could network with fans and potential distributors.

Filmmakers Hangout also offers masterclasses on the business of filmmaking and understanding film rights, helping local filmmakers better protect their work. In just two years, the event has become one of the more popular gatherings for young filmmakers in Nairobi, as well as for organisations looking to engage with its predominantly Gen Z audience.

Cheruiyot’s ambition has also seen him collaborate with Nairobi Cinema, Kitale Film Week, Doc Society and Tunga Media Afrika, as well as government bodies such as the Kenya Film Commission and the Kenya Film Classification Board.

Yet despite these collaborations, some initiatives argue that institutional support for emerging filmmakers is still limited. Mini Movie Marathon, founded by Latea Juma and Makenna Wandia, believe government bodies still lack initiative, particularly when it comes to supporting young filmmakers.

“What needs improvement is infrastructure especially around access to equipment, distribution, and the economics of filmmaking,” says Juma. “Many filmmakers are forced to self-fund, and there’s limited guidance on how to navigate sustainability.”

In that sense, many of these alternative screening spaces and events have carved out a role for themselves – not only by filling gaps in the pipeline, but also by focusing on filmmakers and film that are often overlooked in the country.

Kulture Klub, for instance, holds weekly screenings of a wide breadth of African films that reflect contemporary social concerns.  Its co-founder Ryan Ondari doesn’t mince his words when it comes to what the support local filmmakers deserve from official bodies.

“Traditional exhibitors in Kenya largely favour Hollywood content and invest little in building audiences for local films, creating a cycle where filmmakers are blamed for poor performance in a system not designed to support them,” says Ondari. “Ultimately, filmmakers do need stronger business literacy, but exhibitors and distributors must also share responsibility in developing a sustainable local film ecosystem.”

Mini Movie Marathon focuses its efforts on an annual showcase for short filmmakers and artists from other creative disciplines looking to break through.

“We allow for cross-creative collaboration. A musician can attend and meet a filmmaker. An illustrator sees a film and gets inspired to create artwork around it. These overlaps don’t happen in traditional, rigid spaces,” Juma says.

According to her, Mini Movie Marathon’s long-term vision is to become a home for African short films. “That means building an ecosystem where films don’t disappear after they premiere, but continue to live through screenings, conversations, and eventually digital access.”

In essence, these avenues function as the equivalent of film festivals, without the barriers and pressure, before filmmakers move forward into digital spaces.

“These alternative spaces build identity, reputation, and cultural value, while digital platforms build visibility, scalability, and revenue. Used together strategically, they don’t compete, they amplify each other,” Anachoni says.

Not every filmmaker is dismissive of the traditional theatrical models. “Traditional models maintain the heritage of theatrical storytelling,” says Oyula. “Alternative spaces allow flexibility and more direct networking opportunities. Both must evolve with clear structure and collaboration.”

Oyula is wary of multiple initiatives – and even the growing number of film festivals – building their own pocket industries; “Many festivals and screening spaces operate independently and even competitively,” he says. “Right now, you can win awards in different festivals across the country, but that’s where the journey ends. There is no collective roadmap.”

Oyula notes that even the Kalashas, as a national platform, ends up competing with regional festivals instead of leading a unified structure. “If all these spaces had a shared vision, filmmakers would benefit more,” he says.

Cheruiyot agrees. The Filmmakers Hangout founder – whose platform recently screened Oyula’s latest work – has collaborated with other initiatives such as Film Sunset and Boma Film Nights, founded by Nice Githinji as a space to “celebrate the best of Kenyan cinema in a relaxed and engaging way.”

“We wish all these initiatives could unite. At one point we almost secured major funding, but the potential funder wanted to support an ecosystem rather than a single organization. We could have secured that funding if we had been more harmonized,” Cheruiyot recalls. “We actively collaborate and view a cooperative network as essential. It increases reach, creates shared resources, and strengthens the ecosystem to support distribution and training.”

At Mini Movie Marathon’s latest event, organisers invited fellow curators from Kuza Film Club and Kulture Klub to celebrate local cinema – an example of the collaborative spirit many of these spaces are trying to foster.

Still, the road ahead is far from smooth, raising the most important question: what is the endgame for this ecosystem?

For Mini Movie Marathon, the goal is to connect Kenyan films to the rest of Africa; “We’ve built relationships with filmmakers and curators across the diaspora,” says Juma. “These networks help us understand the different exhibition and distribution models. Our approach is to learn, adapt, and connect but not to mimic.

Mini Movie Marathon is also actively exploring the possibility of hosting pop-up screenings in other countries. “But right now, our focus is on piloting these experiences within East Africa,” Juma adds.

Cheruiyot also believes the future of Kenyan cinema lies beyond Nairobi. Filmmakers Hangout is already planning to expand its screenings across the country. “There is strong potential for regional touring programs, campus editions (we already work with university film clubs), and pop-up cinema in major county towns beyond Nairobi such as Thika, Juja, Ruiru and Rongai,” he says.

As for the immediate future, Cheruiyot hopes to make Filmmakers Hangout a one-stop shop for the industry, with a film market planned for 2026 as the next big step. “Moving forward, our sustainable model is a hybrid of sponsorships and tiered ticketing for screenings and masterclasses, as well as our TUFA Awards, to create income streams for filmmakers,” he says. “We will provide free access where it’s strategic for community inclusion.”

Cheruiyot adds that Filmmakers Hangout continues to collaborate with government bodies, funders and international partners to develop permanent infrastructure and distribution pathways for Kenyan cinema.

Taken together, these developments reveal a convergence where alternative screening spaces begin to function as part of the distribution infrastructure Kenya’s growing film industry needs. Ultimately, the most important step for Kenyan cinema’s growth is to serve the audience as Film Sunset’s Komora puts it.

“At the end of the day, it’s not just about showing films; it’s about building a vibrant, inclusive film culture. From Nairobi to smaller towns, independent cinema has the power to connect communities, uplift African stories and create lasting audiences.”

This piece is part of an ongoing Sinema Focus series examining the infrastructure, economics, and audience dynamics of Kenyan film culture and exhibition – an analysis that began with Cinema Culture in Kenya and Why We Must Win the Goodwill of the Audience. Also read: Too Expensive, Too Few, Too Unstructured: The Crisis in Kenyan Cinemas and the Case for Saving Them.

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