This article profiles Jean-Pierre Kabera, a Rwandan media pioneer, and his journey from fixer to filmmaker. It explores his early passion for human interest stories, his experiences working with international media organizations during Rwanda's post-genocide era, and the founding of Kwetu Film Institute, a platform dedicated to nurturing the next generation of Rwandan filmmakers.
It was a chilly, sunlit mid-morning when we arrived at Kwetu Film Institute and Hillywood Café, tucked into the serene hills of Gacuriro. This creative haven is wherespends his hours -- either overseeing the production of Rwanda n-made content or mentoring the next generation of filmmakers, actors, and actresses.
"Back then, it wasn't about fancy equipment or perfect opportunities. When I returned to Rwanda in the mid-90s, I worked with prominent media organizations like the BBC, Channel 4, NPR, and France 2." What role do you see training and exposure playing in Rwanda's growing film industry, and how can we build an ecosystem that supports and sustains local talent?
Over the last 20 years, I've trained over 1,500 individuals at the Rwanda Cinema Center and the Kwetu Film Institute. Some are now filmmakers in their own right. The industry is growing, but aspiring filmmakers need to understand that this journey requires resilience, patience, and sacrifice. What would be ideal is for institutions like the City of Kigali, Bank of Kigali, or BRD to think outside the box in their corporate social responsibility efforts. Instead of just advertising products, they could use art to promote their initiatives in a meaningful way. I'm not just talking about commercial ads like, 'Drink Virunga Water,' but perhaps having an artist explain the story behind sparkling water. This would resonate more with people and make a lasting impact.
Take Michael Jackson and Manu Dibango's story: they reached a mutual understanding without legal battles, and that was important. Creation is a process of learning, from both the talented and the less experienced. What's key is respecting those influences and staying focused on originality.reached New York and inspired artists to visit Rwanda. That led to Inganzo Ngari performing at the Brooklyn Academy of Music. It was a powerful experience.
The idea is that even small productions can have big impacts. Quality matters, and we aim for work that's competitive on platforms like Netflix and Amazon. We've seen this withWhile there's a lot of content out there, we believe in producing work that's more than just for views--it should empower audiences intellectually and socially. Our approach emphasizes relevance and respect for our audience, whether it's in Rwanda or globally.
At first, I wasn't sure what to expect. There was a certain level of recognition tied to the work I did, but it came with its own set of limitations and the people I collaborated with. One surprising moment came when my team shared some of the films at the Africa Films for Impact Festival.We sent the film, and towards the end, I was told I needed to travel to Nigeria to collect a trophy. I had no idea the film was even considered for competition.
The film aims to empower African nations to understand that transformation comes with challenges, but it's important to be ready for those challenges and to have an open dialogue about them.There was a problem processing your submission. Please try again later. When young filmmakers come to me with ideas, I sometimes struggle to understand their vision. But as a filmmaker, you have to visualize what others can't see. For instance, if you're creating a story about a Rwandan kid traveling to South Africa for the World Cup, it might be hard for someone unfamiliar with the context to grasp.
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