Two of Kigali’s most prominent cinema venues have shut down in recent years, raising concerns about the sustainability of Rwanda’s cinema industry amid shifting audience habits and growing competition from digital platforms. Canal Olympia Rebero, once one of the city’s largest premium cinemas, ceased operations late last year. Its closure followed that of Century Cinema, which shut down in 2016. ALSO READ: Canal Olympia Rebero to shut down operations, facility awaits new operator Language barrier and content gaps Industry observers point to several structural challenges behind the closures, including a long-standing mismatch between cinema programming and the languages spoken by most Rwandans. Official data shows that Kinyarwanda is spoken by 78.3 percent of the population, while English accounts for 21.2 percent and French 8.2 percent. Despite this, Kigali’s cinemas have traditionally relied heavily on Hollywood and Francophone films delivered in English and French. Jacinthe Isingizwe, former manager of Canal Olympia Rebero, identified inconsistent access to content as a key operational hurdle. “One of the major challenges is access to content. Distributors don’t always provide consistent or competitive lineups—sometimes you secure one film but miss out on another major release that could draw audiences. That inconsistency directly affects attendance and revenue,” she said. She also highlighted the burden of high operating costs. “There are significant technical and operational demands—equipment maintenance, projection standards, licensing systems—that are costly and not always visible to the public but must be managed daily.” Streaming and shifting habits The rapid rise of smartphones and streaming platforms has transformed Rwanda’s entertainment landscape, leaving traditional cinemas struggling to retain audiences. Smartphone penetration reached approximately 34–35 percent of households by mid-2025, while overall mobile phone ownership stood at about 85 percent in 2024. Internet penetration has also climbed to around 38 percent—roughly 5.5 million users. This growth in connectivity has made both free and paid streaming services more accessible. Content creator and film enthusiast Thierry Nteziryayo says cinemas have become less attractive, particularly to younger audiences. “We have platforms like Movie Box that stream the latest films and series for free. Watching on my phone or laptop allows me to multitask instead of sitting in a cinema, which is more expensive,” he said. The shift is also evident in local filmmaking, with many Rwandan creators now releasing content directly on YouTube and other digital platforms, making films more accessible without the need for cinema halls. ALSO READ: What's the fate of Century Cinema? This trend has roots in a uniquely Rwandan tradition. In the late 1990s and early 2000s, Nkusi Thomas—widely known as Yanga—popularised Agasobanuye, a style of film narration in which foreign movies were translated and interpreted in Kinyarwanda. The format became deeply embedded in both urban and rural pop culture. With the rise of social media, Agasobanuye has largely migrated online, with dedicated platforms hosting dubbed content and drawing audiences away from physical cinemas. A few cinemas still holding on Cine Mayaka, established in 1977, remains Kigali’s oldest and currently only fully operational cinema hall. Mbabazi Sharangabo Philbert Aimé, Artistic Director at Imitana Productions and Cine Mayaka, believes the sector still has growth potential despite recent closures. “I may not know exactly why some cinemas have closed, but I can say that several more are expected to open,” he said. According to him, the industry’s challenges stem less from a lack of demand and more from weak programming and marketing. “Cinema today requires strong curation and a clear identity to attract audiences. In an era of endless online content, cinemas must rethink how they operate. Serious marketing is no longer optional,” he explained. He added that Kigali can sustain multiple cinema venues—provided each offers a distinct experience. “Kigali has real demand—not for identical cinemas, but for unique ones. Curation, taste, and originality matter if venues are to avoid becoming redundant.” Kigali Cine Junction is expected to return in July, bringing films, actors, and directors together in a bid to revitalise interest in cinema culture. For now, options remain limited. Beyond Cine Mayaka, occasional screenings take place at L’Espace, while Simba Supermarket in Gacuriro has introduced a 3D and 5D cinema experience. Industry outlook Isingizwe believes the industry is not beyond recovery but requires deliberate and coordinated efforts. “I don’t think the industry has reached a breaking point. Rwanda still needs cinemas. The culture may not yet be fully developed, but there is growing interest,” she said. She emphasised that cinema still offers a shared social experience that streaming cannot fully replace. “For recovery, we need stronger partnerships with distributors, better access to diverse and timely content, and continued efforts to build a cinema-going culture through education, events, and community engagement.” Overall, she remains cautiously optimistic. “Cinema in Rwanda still has a future—but it will require innovation, investment, and patience to rebuild sustainably.” Experts note that while Rwanda’s film industry has grown significantly in recent years, with increasing local talent and institutional support, these gains could be undermined without timely intervention.
