Here’s why Bongo Movie Stars were sent to Seoul

IMAGINE Tanzanian films getting the same global acclaim as “Squid Game” or “Parasite”, award-winning Korean blockbusters.
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TANZANIA :IMAGINE Tanzanian films getting the same global acclaim as “Squid Game” or “Parasite”, award-winning Korean blockbusters.

Yep, that’s right! Picture a world where Dar es Salaam is the new Seoul of the cinematic universe. It all starts with Mama Prezidaa.

As promised, she recently sent a group of film stars to Seoul to learn the tricks of the trade.

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Why? Because South Korea’s film industry offers a perfect blueprint for success, think about it: K-dramas and K-pop didn’t just pop out of nowhere.

They were meticulously crafted, like your grandma’s roast beef. And now, Tanzania’s film industry is trying to uncover these secret ingredients.

It’s like going through your grandma’s kitchen for that one elusive spice that makes everything taste amazing. Oscar-winning film “Parasite” dove deep into class disparity, a theme that resonates across continents and dinner tables.

“Squid Game?” Well, it’s about the relatable human struggle of trying to survive in a deadly game while still looking cool in tracksuits.

If Tanzanian stars can bring back even half the mojo from Seoul, we’re looking at some epic stories coming our way.

Also read:From shadows to spotlight: The future of Tanzanian football

These Tanzanian stars are not just in Seoul to try out kimchi (although, let’s be real, that’s a major perk). They’re there to soak up everything from screenplay writing to thematic depth.

Picture them sitting in workshops, starry-eyed, while directors like Bong Joon-Ho dish out wisdom as if it’s free candy on Saba Saba day.

Moreover, South Korea’s success is more than just throwing money at a project and hoping it sticks.

No, it’s about storytelling, and South Koreans have mastered the art of spinning a yarn.

Movies like “The Host” and “Okja” have shown that you can captivate audiences globally with the right mix of innovative storytelling and tech-savvy production.

Tanzanian filmmakers can take notes on combining creativity with technology, throwing in a giant computer-generated imagery (CGI) Nyama Choma monster for good measure.

So, Tanzanian stars like Steve Nyerere and Monalisa are more than just on a sightseeing tour. They’re on a quest to bring back the ethos of relentless creativity, superior craftsmanship, and a collaborative spirit.

Basically, they will come back as film industry ninjas armed with the trade secrets.

But can this grand educational trip spark a renaissance in Tanzanian cinema? Imagine the inborn talent of Tanzania, combined with world-class skills from Korea—kind of like a superhero crossover movie, but with less CGI and more actual substance.

The answer lies in how they apply what they’ve learned back home, transforming Seoul’s knowledge seeds into a flourishing garden of cinematic excellence in Tanzania.

Let’s be honest: the Tanzanian film industry is like a raw diamond—it has plenty of potential but needs some serious polish.

But here’s the thing: Tanzania has a rich cultural heritage and compelling stories that resonate deeply.

By comparing the Tanzanian approach to South Korea’s, it becomes evident that with strategic investment and education, the growth potential is colossal. Take a page from Bong Joon-Ho’s playbook.

His films have received international acclaim not just for their storytelling but for innovative production techniques.

His achievements show what’s possible when creative vision meets robust infrastructure and investment. It’s like mixing your favourite ‘kisinia’ pilau with the finest kachumbari — pure magic!

The key is to make your audience laugh, cry, and maybe even scream a little— all in one movie. That’s the secret sauce! Investment in the film industry is crucial for international success.

Just as South Korea benefited from large conglomerates and government support, Tanzania could see similar success with the right partnerships and investments.

Imagine local businesses sponsoring films instead of football teams—okay, maybe both…. Training and education are the cornerstones of a thriving film industry.

By sending Bongo movie stars to Seoul, Tanzania is already on the right path. It’s like sending your brightest students to the best schools abroad and waiting for them to come back and revolutionise the local system.

Technological advancements and access to highquality equipment are essential for producing films that meet international standards.

Tanzanian films can hit international platforms if the production quality matches global standards. This can be achieved through investment, training and some good old-fashioned hustling.

Distribution and marketing are the unsung heroes of film success. South Korean films have nailed international acclaim through strategic distribution channels and savvy marketing campaigns.

Tanzanian filmmakers must build solid networks and marketing strategies to ensure their films reach the global audience.

This could involve collaborations with international streaming platforms, film festival circuits and viral marketing efforts. Imagine a Tanzanian film going viral on TikTok—that’s the dream!

Government support and policy frameworks are vital. The South Korean government has actively promoted its entertainment industry. Similarly, the Tanzanian government can implement policies and provide funding to support the film industry.

Think tax incentives, grants, and initiatives to promote local content—like a governmental hug for the film sector. Building a strong domestic film industry is the foundation for international success.

Tanzanian filmmakers should focus on creating compelling stories that appeal to local audiences while having international potential. A solid domestic market can provide the financial stability and audience base needed to support international ventures.

Tanzania’s film industry is still in its early stages compared to South Korea’s cinematic powerhouse. And here are some challenges to be overcome… Imagine, if you will, a scene straight out of a comedy of errors. Enter Joti and his crew, eager to shoot a thrilling action sequence.

They don police uniforms, meticulously designed to replicate the real deal. But instead of applause for their dedication to realism, they find themselves at the wrong end of the law, almost ending up behind bars. The crime? It resembles the actual police too closely.

To them, it’s a bad joke, and the punchline is an arrest warrant. Then there’s the tale of this poor, talented artisan whose passion for sculpting realistic props gets him in trouble.

His crime? Crafting fake guns so convincing that authorities mistake his artistry for treasonous intent. This poor soul tries to explain, “It’s for a film jamani…!” but no one listens.

They see only the threat, not the art. Now, imagine the chaos if Steve Nyerere or JB Jerusalem decided to import imitation SMGs or AK-47s that fire rubber pellets and emit smoke.

The ensuing panic would be monumental, a far cry from the well-choreographed action scenes of Kenya’s film industry.

Our neighbours have somehow managed to convince their authorities to allow the use of professional props, including costumes and vehicles. They even have real army officers as consultants.

Take Netflix’s “Mpakani” or “Mission to Rescue” for example, where the authenticity of props and action sequences adds a layer of believability and excitement.

It’s not just about the equipment but about the understanding and trust between filmmakers and authorities—a collaboration that can turn dreams into reality.

As the Uwoyas, Monalisas and Sultans return from their cinematic expeditions in Korea, Tanzania’s Film Board has a golden opportunity to show its mettle. It should take a cue from Mama Prezidaa’s efforts to develop the industry and coordinate inter-ministerial action.

They should support and nurture this burgeoning industry instead of strictly monitoring and penalising filmmakers for any slight mistake.

The Film Board should stop being ‘wanoko’ and instead coordinate with relevant authorities to broaden the scope of bottleneck solutions such as permitted props and costumes.

The Board should also collaborate with filmmakers and relevant government authorities to reduce or eliminate taxes on essential filmmaking imports.

On playing its part, the tax regiment should lighten its grip on filming imports, at least temporarily.

Allowing filmmakers to grow and experiment without the burden of excessive taxation could transform the industry. After all, it’s about nurturing the chick and not crushing it in its embryonic stage.