Pricilla Mukokobi 

Isai Sipunga

Namibia’s film industry has travelled a long road – from a time when outsiders largely told the country’s stories to an era in which Namibians are increasingly shaping their own narratives.

Before 1990, filmmaking in Namibia was rare. Films shot in the country were often produced by South African or Western filmmakers, mostly focusing on wildlife, landscapes and tourism.

The everyday lives of Namibians were seldom portrayed on screen – apart from state propaganda broadcast through official news channels of the time.

Opportunities for locals to learn filmmaking were also limited. Equipment was scarce, and there were few production structures in place. As a result, Namibian voices, cultures and languages were largely absent from the big screen.

After independence, however, the picture slowly began to change.

Government policies supporting arts and culture helped open doors for local filmmakers. The establishment of the Namibia Film Commission further contributed to the industry’s growth by supporting training, funding and film production.

Over time, a new generation of filmmakers began telling stories rooted in Namibia’s history, communities and identity.

One of the early local productions to gain international attention was “My Father’s” Son, directed by veteran filmmaker Joel Haikali. The film was screened at several international film festivals, marking an early moment when Namibian storytelling started reaching global audiences. Since then, several Namibian films have earned recognition on the international stage. The historical drama “The White Line,” directed by Desiree Kahikopo-Meiffret, premiered at the Durban International Film Festival and later screened at festivals around the world. The film won Best Feature Film at the African Emerging Filmmakers Awards and was entered into the 2022 Oscars race – a first for a Namibian production.

Another production, “Hairareb”, has also carried Namibia’s flag abroad. The film premiered internationally at the Durban International Film Festival and later won awards at the International Pan-African Film Festival in Cannes and the Sotambe International Film and Arts Festival in Zambia.

Short films have also played a key role in the industry’s growth. Productions such as Tjitji: The Himba Girl and Uushimba have been screened at international festivals and helped introduce emerging Namibian talent to global audiences.

Alongside these achievements, support from broadcasters and streaming platforms has helped local filmmakers reach wider audiences.

MultiChoice Namibia has played an important role in supporting local content through platforms such as Showmax and Africa Magic. Through partnerships and commissioning programmes, Namibian productions have been given opportunities to reach audiences across Africa and beyond.

For many filmmakers, such exposure has been significant.

Industry stakeholders say the growing presence of Namibian stories on regional platforms has helped build confidence in the sector and encouraged young creatives to enter the industry.

Veteran filmmaker Haikali said the industry has grown significantly over the past two decades, although challenges remain.

“Film is not just about the final product. It starts with an idea and must ultimately reach audiences and markets. That is where the real work begins,” he said.

He noted that many young filmmakers are passionate and talented but often struggle with distribution, marketing and funding.

These challenges helped inspire the creation of the Creative Industry Institute Africa, which aims to connect artists with training, markets and resources.

“The goal is to move from passion to a sustainable industry,” Haikali said. Arts administrators say the conversation around sustainability in the creative sector is also gaining momentum. Gretta Gaspar, chief arts education officer at the National Arts Council of Namibia, said the sector has long relied on once-off project funding.

“For many years, public arts funding has focused on once-off project grants. While important, they are not enough to build long-term creative businesses,” she said.

Gaspar believes the industry must now focus more on enterprise development and market access.

“A film that is never distributed cannot generate income for the people who made it,” she said.

Despite the challenges, the industry continues to gain momentum.

The return of the Namibian Theatre and Film Awards in 2026, after a six-year break, reflects renewed energy in the sector.

Film festivals are also seeing growing participation from local filmmakers. Film Week 2026 received more than 650 submissions, including 64 films produced by Namibians.