The quiet town of Rwamagana is not where most people imagine their filmmaking careers would start. But, to many, the narrative has changed since globally acclaimed Rwandan filmmaker Joel Karekezi established a film residency within their reach—the Karekezi Film Residency. “It’s our place. That’s where we are,” Karekezi says with a smile. The workshop is where young Rwandans come to learn the full spectrum of filmmaking — directing, writing, cinematography, and editing. One of Karekezi’s most successful film projects in his career was The Mercy of the Jungle which earned him a number of accolades on the global scene. The success of the film allowed him to continue to invest in the local film industry. Through his residency in Rwamagana, he has trained dozens of young filmmakers, many of whom now work in Rwanda’s growing industry. The program produces short films while simultaneously providing hands-on experience for its participants. “When I produce a feature, they have jobs. We work together,” he says. “And it’s easy.” The residency is part of Karekezi’s broader mission: to give Rwandans the tools and confidence to tell their own stories, from their perspective. “For too long, others came here to tell our stories. But now it’s up to us,” he says. Since 2010, he has trained aspiring filmmakers not only in Rwanda but across Uganda, Guinea, Central Africa, and beyond. Through mentorship programs and master classes, he continues to pass on the skills that shaped his journey. For Allan Kanobana, a local farmer, the residency has opened a door he never thought he would walk through. “I live right here in Rwamagana, next to the residency,” Kanobana said. “When I heard about the workshop, I applied. They accepted me, and now I am directing my own story.” Despite his full-time work in agriculture, Kanobana has long been a fan of cinema and social media. The workshop's spontaneous narrative technique gave him an unexpected chance to step behind the camera. ALSO READ: Karekezi on why his film ‘Mercy of the Jungle’ won top accolades in Africa Under the guidance of filmmaker Mutiganda wa Nkunda, Kanobana learned how to shape his own story into a short film. The experience has been transformative. “I never thought I would direct anything, but here I am, being mentored and doing it,” he said. There were 15 of us, each carrying our own stories. It made me realize just how many voices are still waiting to be heard. Kanobana's project, The Ghost, follows a stressed motorcyclist who becomes convinced he is carrying a supernatural passenger. The story, he explained, is a metaphor for the psychological toll of unspoken stress. “If people had just listened to him, he might have been okay. That’s why I believe storytelling is healing. Being heard matters,” he said. ALSO READ: Rwandan psychotherapist launches film on trauma and healing “Workshops like this help people bring their experiences to light, and in that process, they heal.” For businesswoman Ruth Umuragwa, the filmmaking journey began from a different place. She came across Karekezi’s call for trainees online. “I hesitated at first,” she said, “but then I thought, why not? They accepted me, and now I’m here learning scriptwriting and directing.” While Umuragwa enjoys both aspects of filmmaking, it is directing that has captured her imagination. “Directing allows you to visualize and reshape scenes. It’s technical, but it’s also creative,” she said. Already an actress, she recently debuted her first short film, Why Me? which follows a woman abandoned to fend for herself after being deceived. The experience has been collaborative and empowering. “We pitch ideas, we refine scripts together, we learn from each other,” she said. One of her recent projects even involved casting her husband. “He was hesitant, but sometimes people just need a little encouragement. He did great.” Umuragwa sees this new chapter as more than personal growth. It is about representation. “Not many women used to do this. Policies have changed, and now it’s up to us to take advantage. The opportunity is here. We have the knowledge, we have the skills, and we have a safe environment. Nothing is stopping us.” At the heart of the residency stands Mutiganda wa Nkunda, the mentor guiding these aspiring filmmakers through a technique most have never encountered: making films without a script. “It is spontaneous narrative crafting,” Mutiganda explained, adding, “We start with an idea and build from there, directly on set. It is unconventional but incredibly freeing.” Mutiganda’s journey into filmmaking was anything but straightforward. As a child, he was captivated by martial arts movies, action stars like Jackie Chan and Rambo, and the sheer magic of cinema. But academic success led him down a different path. “When you score high in school here, you’re pushed toward science,” he said. “I ended up studying agriculture, but it was not my calling.” After finishing his studies, Mutiganda found his way back to filmmaking through journalism and internships. Over the past 12 years, he has directed short films, television series, and feature films, gradually honing the spontaneous approach he now teaches. The residency has been a crash course not only in creativity but in practical constraints. “With limited resources, you have to adapt quickly. Time equals money in filmmaking,” he said. “But these participants have been remarkably quick to learn. Within two days, we developed four short films. By the sixth day, we had already filmed three of them.” Mutiganda is also clear-eyed about the reality facing many young Rwandans who dream of breaking into the industry. “There is no one path. My way was my way, your way will be yours. You need passion, courage, and connections. You have to keep researching, keep dreaming, and keep working,” he said. The Karekezi Film Residency may still be finding its footing, but under the vision and guidance of Director Joel Karekezi, it is already giving voices like Kanobana’s and Umuragwa’s a chance to be seen, heard, and shaped. For Rwanda’s next generation of storytellers, this feels like just the beginning.
