Zimbabwe’s Film Industry Needs a Statutory Film Commission to Attract Investment and Boost Local Productions

Zimbabwe’s ambition to build a competitive film industry will require more than policy commitments and strategic plans. The country needs strong institutions, efficient regulatory systems and financial incentives that make local film production commercially viable and attractive to investors. This was the central message delivered by National Arts Council of Zimbabwe (NACZ) Director Napoleon Nyanhi, who has called for the establishment of a statutory film commission to drive the growth and professionalisation of the country’s film sector. Speaking at the Ministry of Information, Publicity and Broadcasting Services Stakeholders Workshop, which focused on informing the 2027 Strategy, Nyanhi emphasised the need for institutional reforms that address the practical challenges facing filmmakers. His proposals place the creation of a dedicated film commission, streamlined licensing procedures and tax incentives at the centre of Zimbabwe’s efforts to develop a sustainable and internationally competitive film industry.

Nyanhi argued that a strategy document alone would not deliver the transformation Zimbabwe wants to see in its film sector. While national policies provide direction and establish long-term objectives, their effectiveness depends on the institutions responsible for implementing them. He stressed the importance of establishing an empowered statutory body capable of coordinating different government ministries and agencies involved in film production. Such an institution would help address regulatory challenges, reduce administrative delays and create a more predictable operating environment for local and international filmmakers. A dedicated film commission could also provide the leadership needed to turn the country’s film development ambitions into measurable results.

One of Nyanhi’s key proposals was the creation of a genuine one-stop shop where filmmakers could access essential services under one roof. Film production often involves several administrative processes, including obtaining filming permits, securing location approvals and meeting other regulatory requirements. When these processes involve multiple government departments with separate procedures, filmmakers can face unnecessary delays and additional production costs. A centralised service would simplify these requirements by giving producers a clear point of contact and making it easier to understand the steps involved in securing approval. Nyanhi also emphasised the importance of transparent procedures and clearly defined criteria to ensure that filmmakers can access services fairly and efficiently.

The proposed statutory film commission could play a significant role in coordinating Zimbabwe’s broader film development agenda. Beyond handling administrative matters, such an institution could help promote local productions, support industry development and strengthen relationships between filmmakers, government departments and investors. It could also provide a more organised framework for attracting international productions interested in using Zimbabwe as a filming destination. Countries with established film commission structures often use them to market locations, coordinate production services and communicate available incentives to international producers. For Zimbabwe, creating an effective institution could help establish a more professional environment in which both domestic and foreign productions can operate.

Tax incentives and production rebates formed another important part of Nyanhi’s proposals. Film production requires significant financial resources, covering everything from equipment and locations to cast, crew, transport and post-production services. These expenses can make it difficult for local producers to finance ambitious projects, particularly when they have limited access to investment and distribution opportunities. Nyanhi argued that tax incentives and rebates on local productions could improve the financial viability of filmmaking and encourage greater investment in the sector. Such measures could also strengthen Zimbabwe’s ability to compete with other countries seeking to attract international film and television productions.

The introduction of a clear film incentive framework could have wider economic benefits beyond the film industry itself. Film productions create demand for services across several sectors, including accommodation, transport, catering, construction, equipment hire and tourism. International productions filming in Zimbabwe could generate business for local suppliers while creating employment opportunities for actors, technicians, production assistants and other creative professionals. Local productions could also benefit from improved access to funding and reduced production costs, allowing filmmakers to develop projects with stronger technical and commercial potential. However, any proposed incentive programme would need transparent eligibility requirements, clear financial rules and effective monitoring to ensure that public resources deliver measurable economic and creative benefits.

Nyanhi’s remarks come as Zimbabwe continues implementing the Zimbabwe Film Strategy (2025–2030), launched by the National Arts Council of Zimbabwe on November 20, 2024. The strategy represents the country’s first comprehensive framework specifically aimed at professionalising, digitising and expanding the film industry alongside the wider creative sector. It recognises the potential of the creative economy to contribute to national development, employment creation and economic growth. The framework also aligns with Zimbabwe’s Vision 2030 ambition of becoming an upper-middle-income society. Its objectives provide an important foundation for developing the film sector, but the success of the strategy will depend on how effectively its commitments translate into practical support for industry players.

The call for a statutory film commission highlights a critical question about the implementation of Zimbabwe’s film strategy. A policy framework can identify opportunities and outline priorities, but filmmakers need institutions that can respond to their everyday operational challenges. These include accessing production permits, securing funding, finding suitable locations, protecting intellectual property and connecting with distribution markets. A properly resourced film commission could help coordinate these areas while providing a central institution responsible for promoting the country’s filmmaking potential. It could also support dialogue between government and the private sector to ensure that regulations reflect the realities of modern film production.

Zimbabwe has several opportunities to strengthen its position as a filmmaking destination. Its landscapes, urban environments, cultural heritage and diverse locations could offer production opportunities for local filmmakers and international producers. However, attractive locations alone are not enough to secure major film investments. Producers also consider regulatory efficiency, production costs, access to skilled workers, infrastructure, financial incentives and the availability of reliable local production services. A statutory film commission could help package these advantages into a coordinated national offering. By providing accurate information, facilitating permits and connecting international producers with local industry professionals, Zimbabwe could improve its visibility in the global film market.

The development of a competitive film industry will also require sustained investment in local talent and technical skills. Actors, directors, cinematographers, editors, screenwriters, sound engineers and production managers all play essential roles in building a professional filmmaking ecosystem. A stronger institutional framework could help coordinate training initiatives, encourage partnerships with film schools and support opportunities for emerging creative professionals. It could also promote collaboration between local production companies and international studios, creating opportunities for skills transfer and technical development. Building this capacity is important because attracting international productions should not be the only measure of success. Zimbabwe must also develop a strong domestic industry capable of producing quality films that reach audiences at home and abroad.

Another important consideration is the commercial sustainability of local productions. Filmmakers need more than opportunities to make films. They also need reliable pathways to distribute their work, reach audiences and generate revenue. Investment in production without corresponding attention to distribution, marketing and exhibition can limit the long-term growth of the industry. A film commission could help strengthen connections between producers, broadcasters, cinemas, streaming platforms and international distribution partners. Such coordination would give Zimbabwean filmmakers a better chance of turning creative projects into commercially sustainable businesses.

The proposed reforms also raise the importance of creating a predictable regulatory environment for international investors. Investors are more likely to consider a country when they understand the approval process, know the costs involved and can identify the institutions responsible for providing support. Complicated licensing requirements and unclear administrative procedures can discourage productions from choosing a particular destination, especially when other countries offer more streamlined systems. Zimbabwe could improve its competitiveness by establishing clear application procedures, reasonable processing timelines and transparent requirements for local and foreign productions. These improvements would help reduce uncertainty and make the country a more attractive place to invest in film production.

As discussions around the Ministry of Information, Publicity and Broadcasting Services 2027 Strategy continue, Nyanhi’s proposals offer an important contribution to the debate about the future of Zimbabwean filmmaking. The establishment of a statutory film commission could provide the institutional foundation needed to coordinate the sector, improve licensing procedures and attract investment. Tax incentives and production rebates could further strengthen the financial environment for local filmmakers while encouraging international producers to consider Zimbabwe. However, these measures will require political commitment, adequate funding and cooperation between government institutions and industry stakeholders. The ultimate test will be whether the proposed reforms produce tangible improvements in the working conditions and commercial opportunities available to filmmakers.

Zimbabwe’s film industry has an opportunity to become a stronger contributor to the country’s creative economy, but achieving that ambition will require decisive action. The Zimbabwe Film Strategy (2025–2030) provides a policy direction, while Napoleon Nyanhi’s proposals highlight the institutional and financial changes needed to make that vision practical. A properly empowered statutory film commission, a genuine one-stop licensing system and competitive tax incentives could help create the conditions for sustainable industry growth. These reforms could support local productions, attract international investment, create employment and strengthen Zimbabwe’s presence in the global film market. As the country works towards its Vision 2030 ambitions, the priority must be to move beyond policy discussions and establish the institutions, resources and systems that allow Zimbabwean filmmakers to build a competitive and commercially sustainable film industry.