Why local filmmakers struggle to break into Tanzania’s cinema market

This trend, industry players warn, threatens both the financial sustainability of local filmmakers and the long-term development of Tanzania’s film sector.

A major hurdle lies in the business model adopted by most cinemas, which requires filmmakers to buy out cinema seats in advance before screening their films. This arrangement places the full financial risk on the filmmakers’ shoulders.

“In most Tanzanian cinemas, filmmakers are required to buy out all the seats in advance,” film director and producer Mathew Valerian told The Citizen.

“Once you do that, it becomes your responsibility to fill the theatre and recover the money. This is extremely difficult for filmmakers with limited capital.”

He noted that local productions also compete with international films that attract the majority of moviegoers and secure prime screening times.

“The world is changing, and so are the ways people experience films,” he said.

“Screening in theatres is still prestigious, especially for those seeking international exposure, but flexibility is key. Producers need to understand the market and make their films accessible to all audiences—even in places like Mbagala.”

Beyond financial challenges, technical standards also pose a barrier. Many cinemas operate using Digital Cinema Package (DCP) format, which a significant number of local films are not produced in.

This affects screening quality and can discourage audiences from attending local film premieres.

Promotion is another critical factor in cinema success. Mr Valerian pointed to recent successes that highlight the importance of aggressive marketing.

“Films like EONII showed what can be achieved through strong promotion. It ran for a week to full houses. Filmmakers must understand that there’s no such thing as bad marketing.”

Award-winning filmmaker Kefa Igilo echoed these concerns, noting that many Tanzanian directors lack the investment capacity needed to produce cinema-ready films.

“Most Tanzanian directors make films for television and streaming platforms, where viewership is higher and production costs are lower,” he said.

Producing for the cinema, he added, requires modern cameras, advanced sound equipment and high-level post-production facilities.

“Directors must invest in quality, from storyline to final edits, to keep audiences engaged.”

Mr Igilo also highlighted the economic and social factors influencing cinema attendance.

 “Most cinemas are located in high-end areas where many Tanzanians may feel out of place. Over time, the culture of going to cinemas to watch local films has declined.”

He said the shift towards streaming platforms is driven by convenience and affordability.

“People prefer watching movies from home. It’s cheaper and more comfortable. That’s why producers targeting cinemas often see smaller returns than those focusing on digital platforms.”

To revive the cinema-going culture, Mr Igilo suggested that filmmakers prioritise relatable stories, invest in quality production and collaborate with cinemas on creative marketing initiatives, including local premieres and interactive sessions with audiences.

Filmmaker Doreen Kilimbe added that cinema premieres remain essential for building audience trust in local productions.

“It’s important to build confidence in the local market,” she said.

“Tanzania has many stories, and people should be able to see their lives and culture reflected on the big screen, not only in foreign films.”

As global streaming platforms expand across Tanzania, local filmmakers now face the challenge of balancing traditional cinema ambitions with the demands of the digital age, ensuring that the industry remains both culturally meaningful and commercially viable.