A lot of really creative people come out of small towns.

Words by Alex Gwaze (Curator)
Questions by Alex Gwaze and Zaza Muchemwa (Writer & Director)

There was a time in my life when I would only watch foreign films, arthouse films, or “indies”. These type of films made me ‘think differently’ because they presented unfamiliar narratives in an exotic way. Not exotic in a Hollywood adventure (full of spectacle) way; but exotic in that unusual (“hmmm”) sort of way feels like a new first-hand experience you can reference in the future. Don’t get me wrong I enjoy a great spectacle, but a film that can entertain me and make me think is like finding an $100 in your clothes, that you forgot you hid. Plus too much thinking hurts the soul.

I was thinking about who makes these type of ‘independent’ films in Zimbabwe and only one person came to mind. Sydney Taivavashe is an award winning Director, Producer and Scriptwriter. His film “Gonarezhou” won the Best First Feature and Best Director awards at the Pan African Film Festival, and his short film “Seiko” won the Outstanding Short Film award at the National Arts Merit awards (NAMA). When I look at Sydney’s output I see someone cultivating his own artist voice outside of the influences of the big city (Harare and Bulawayo) filmmakers’ traditions and concerns. There’s nothing wrong with the big city folks approach to filmmaking, it’s just that I enjoy the mystery and authenticity of a independent thinker who throws a spanner in the works.

Creatives who create works that feel different are often driven by passion and the love for the craft. Those ‘make the art first and figure out how to sell it later’ type of rebels. Risky, but so is walking along a bush shortcut at night during a power cut with your phone in your hand. I’m interested in how such rebels do their SWOT analysis. That’s I decided to talk to Sydney to get a better idea of what motivates him.

ZM: You are from Masvingo. A city know for being the caretaker of the Great Zimbabwe ruins. What else can you tell us about Masvingo that most people don’t know?

ST: I don’t think you know this but Masvingo is the first city established by the British. It’s a small city with the nicest people. And since it’s a small town, you almost feel like you know each other. Most Karanga people come from Masvingo. I love the Karanga language, It’s so rich and the stories are always stronger when explained by a Masvingo person because of their accent (laughs). Gwendo gwuya gwe gweru gwakona (laughs). But let me correct something, Masvingo is not backward. Stupid internet memes have ruined our image. Now some people just think the town is full of backward naive cultural people. We’re just laid back humble people.

AG: Wow, I didn’t realize it’s that old (laughs). When I think of Masvingo, I think of Shantel Chiwara and Great Zimbabwe University (one of the newest universities in the country). You partnered with GZU to make the film “Solo naMutsai” – but you have avoided going to college.

ST: Ya, I really wanted to study filmmaking but unfortunately I wasn’t aware that we have a film school in Zimbabwe and by the time I knew there are some places to study film, most of their students were already working for or with me. I think formal education is important, it just widens one’s scope of life. But I don’t believe that one can be taught to be a writer or director though. That requires talent. You can get taught the rules of directing or story structure but how you make your films is something you can’t find in a text book. I do think more technical roles need to be taught in schools like cinematography, lighting, producing etc. I might be forced to eat my words by unforgiving critics one day (laughs) but I hope I explained the difference between nurturing talent and acquiring technical skills.

AG: There is more than one way to learn. I read somewhere that you were inspired by Tsitsi Dangarembga to make your first short film “The Terrific Night”. Who else inspire you (Africans)?

ST: Tsitsi Dangarembga inspired me a lot because she’s Zimbabwean and proved that it’s possible to make films in Zimbabwe. I will throw Joe Njagu in there too. I watched “Lobola” long back and that film helped me to keep dreaming. Currently I look at works from the likes of Neil Blomkamp, Nosipho Dumisa, Donovan Marsh and Mandla Dube because I’m inspired by the quality of their productions. I would want to get to that level too.

AG: One of your films that I think is inspirational is “Seiko” (a semi-silent film that highlights the plight of the deaf). The disabled are rarely portrayed in Zim films. What do you think can be done to improve the situation?

ST: I think there’s need for more representation for everyone in our industry. People deserve to be given opportunities (if they’re talented). The inspiration behind “Seiko” is personal. I had travelled to Harare to ask one of my uncles for funding to do a film, and that conversation ended up being a 1 hour lecture about how I should be serious about life and chose a career path that’s stable and secure. So straight after that conversation I went back home and went into my bedroom and wrote “Seiko” in one sitting (laughs). Later I realised that the reason the story follows a character who’s deaf and dumb is because at the time of writing I felt like no one could hear me, and I couldn’t speak about what I loved to do the most.

ZM: Your love for for filmmaking has taken you so far. Some of your films have been showcased at the Shanghai Film Festival, Pan African Film Festival, and so forth.

ST: I think it’s about telling our own stories because they’re unique. If we copy and paste then we can get easily buried by other films from countries who know how to tell those stories better. So having our own voice is important. If we embrace ourselves and showcase what we can offer on an international stage then people will pay attention to our stories. For example, I can make a film about poaching in Africa and I assure you that element makes people want to see what’s happening because they have never watched that kind of a film on a big screen before.

AG: The last time we spoke you were talking about creating a platform to stream Zimbabwean content called, “TV Yako”.

ST: Yes we recently launched TV Yako. It’s as a Pay-Per-View streaming site, as well subscription based. Initially we tested the market by putting one of my films (Poor Cousins) on YouTube. The film received positive reviews and won some awards. It’s now exclusively on TV Yako, visit the site we adding new Zim content every month.

AG: I really enjoyed your anti poaching film “Gonarezhou: The movie”. I don’t know if those kinds of films are your style. By style I mean you tend to add some form of edutainment / activism in your work?

ST: Someone else also asked me that question recently, “Why do you make awareness films?” (laughs). For me it has been a calling to make films that raise awareness on issues affecting our society. I have made over 10 films and I know you won’t believe this but none of them were sponsored by NGOs. I just love telling those stories and using my talent to raise people’s voices. That was my mission in my first phase of making films.

AG: First phase? Are you creating your own cinematic universe (MCU)? What’s phase 2?

ST: (laughs) No it’s not like that. I mean the first phase of my adult life. Every film people know me for, I have made before turning 30. So, after 30 I’m entering a new phase. I might even go more mainstream and create films with aliens, Horror, Christian films, who knows (laughs). I’m just excited about getting older as a filmmaker.

AG: From the Afropop princess Tamy Moyo to the iconic Chimurenga war hero Mbuya Nehanda (“The Story of Nehanda” film), to Tendaiishe Chitima to the socialite / comedian Madam Boss (“Becoming Madam Boss”) – famous women seem to be a subject you like to explore through film. Will we see more famous women in phase 2?

ST: (laughs) I don’t have an answer yet. I always wonder about that. I’m just drawn to those stories I guess. I grew up with my mother and when she passed away I started staying with my aunt, and at some point I stayed with my grandmother in the villages. So, I guess I grew up interpreting women’s stories. That’s where the bias comes from (laughs). I don’t know how I didn’t notice this detail.

AG: Wait! I forgot, “Gonarezhou” also featured another famous woman. The president of Zimbabwe’s daughter, Tariro Mnangagwa. Last question, we want to know was it like working with such high profile talent? Take your time and answer well (laughs).

ST: (laughs) Let me tell you something, I wrote Gonarezhou when I was 22 and I always knew it was a special project. So I took my time in engaging people. I was introduced to Tariro Washe by a mutual friend who knew I was working on an anti-poaching awareness film and Tariro was also volunteering as a game ranger with the Akashinga all female game ranger group. She took sometime before coming back to me and when she did, we talked about her involvement in the production. As a person who had been in the conservation industry and accumulated so much knowledge about it, I felt it would be wise to produce this film with her. Especially since I needed to also convince Zim Parks to partner with me (laughs) and especially since my film was for a good cause and it needed their support. After she agreed to produce the film with me I then approached her (again) to play a role in the film because she looks like a Danai Gurira (she has a face for film, natural camera presence). So, after a few drinks I got the courage to ask her “would you like to audition for a role in the movie?” She auditioned in September and we started shooting in November. God works in mysterious ways when you put the right energy out there for a good cause my brother!

Follow Sydney Taivavashe at: @sydney_taivavashe
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