Can Uganda’s filmmakers turn passion into power?

Uganda’s film industry is brimming with stories, talent, and ambition, but it has long been held back by piracy, poor infrastructure, and a lack of formal structures that leave many filmmakers struggling to turn creativity into careers.

Now, a new alliance between MultiChoice Uganda and the Producers Guild of Uganda (PGU) is trying to change that. In a workshop that drew filmmakers, regulators, and broadcasters to Kampala, the conversation shifted from scripts and cameras to the tougher realities of survival: how to register production companies, secure financing, license films, and protect intellectual property in a market where counterfeiting thrives.

For an industry driven by passion but undermined by informality, the message was clear: storytelling alone won’t sustain Uganda’s film industry. Business skills, policy support, and collective action are the missing pieces.

For many Ugandan filmmakers, storytelling has always come easier than bookkeeping. But as PGU president Mathew Nabwiso told the packed room, “Operating informally limits access to assistance. Registering your company is the first step toward unlocking opportunities.”

He urged filmmakers to see themselves not only as artists but as entrepreneurs. Without registration, there is no access to loans, no eligibility for government support, and no bargaining power with distributors.

“We also need reliable industry data,” he added. “Without it, we cannot make the case for more government investment.” Nabwiso’s plans extend beyond Kampala. He spoke of regional hubs, beginning with Gulu City, where filmmaking culture can take root and new audiences can be cultivated.

“We must build a sustainable workforce and audience base if we want this industry to thrive,” he said. The workshop also highlighted the role of the Uganda Communications Commission (UCC), which launched its Content Development Support Program (CDSP) in 2020 at the height of the COVID-19 lockdown.

“The economy was down, and filmmakers were struggling,” recalled UCC official Gonzaga Ntaruka. “So, we created a fund from a 2 per cent levy on companies’ annual revenue to support content production, festivals, capacity building, and infrastructure like the planned hub in northern Uganda.”

Since 2022, the program has supported short films, features, animations, documentaries, and television dramas. The criteria are strict: proposals must be original, unique, and relevant.

“We want a professionalized industry that creates jobs and positions Uganda globally,” Gonzaga said.

For MultiChoice Uganda, the partnership with PGU builds on earlier investments, including the MultiChoice Talent Factory, which trains and mentors filmmakers across Africa.

“In tackling piracy, we protected both our business and the livelihoods of producers, writers, and the wider creative community,” said Rinaldi Jamugisa, MultiChoice Uganda’s PR and Communications Manager.

“This workshop reflects our commitment to equipping producers with skills to create quality content that thrives in the market.” Brian Mulondo, the company’s local content marketing manager, echoed that view.

“Local content is at the heart of who we are,” he said. “Our audiences value Ugandan stories, and we have invested in nurturing producers to strengthen the industry’s backbone.”

For younger filmmakers like Esther Namugenyi, the workshop was eye- opening. “Learning about copyright and company registration showed me how to protect my work and build a sustainable business,” she said.

Her comment drew murmurs of agreement from other aspiring producers in the audience—many of whom had never considered the legal mechanics of running a film company. A panel of veteran producers shared insights into pitching, budgeting, and distribution. They spoke candidly about rejection, about piracy eating away at profits, and about the need to view filmmaking as both art and industry.

Related

_{Images are for reference only.Images and contents gathered automatic from google or 3rd party sources.All rights on the images and contents are with their legal original owners.}