Nairobi hosts Wildscreen Festival as filmmakers push for creative control in nature films

In Nairobi, for two days in June 2026, the wild was not confined to forests and savannahs; it was on screen, in conversation, and increasingly in African hands.

The Wildscreen Festival returned to Kenya for its fourth African edition on 11–12 June, following earlier stops in Nairobi (2023), Tanzania (2024) and Botswana (2025). The gathering highlighted a growing shift in wildlife storytelling, with Africa asserting a stronger role in shaping how nature is portrayed and understood.

Supported by headline sponsor Wildstar Foundation, the festival brought together filmmakers, broadcasters, conservationists and emerging storytellers for screenings, pitching sessions, mentorship and industry dialogue, all anchored on the idea that African stories should be told by African creators.

Award-winning producer and director Faith Musembi chaired the 2026 edition, reflecting a deliberate effort to elevate African leadership in natural history filmmaking. Her appointment underscored a broader push to place local voices not only in front of the camera, but also in the decision-making spaces where stories are developed and financed.

“What inspired me most about Wildscreen Festival Kenya was seeing how far we’ve come since the inaugural Wildscreen Festival Kenya in 2023. Over two days, we heard stories from filmmakers at different stages of their journeys, and what connected everyone was a deep desire to elevate wildlife filmmaking within Africa. Seeing these conversations take place and especially seeing new filmmakers taking up space, make connections, and realise they belong in this industry gives me great hope for the future,” she told TNX Africa.

“Representation is not just about who is filmed,” Musembi’s leadership approach suggested through the programme’s framing, “but who gets to decide how the story is told.”

Across the two days, panels and workshops examined how African filmmakers can expand their footprint in a global industry long dominated by external production houses. Discussions focused on financing, distribution, editorial control and the growing importance of Indigenous storytelling perspectives.

A key objective of the festival was to demystify wildlife filmmaking, tracing how nature documentaries move from concept and funding to field production and global distribution.

That thread was reinforced by insights from the University of the West of England (UWE) and BBC Studios’ Natural History Unit MA Wildlife Filmmaking programme, which has trained a new generation of filmmakers and connects African talent to established global production networks.

Alumni and industry leaders also examined how emerging technologies, including artificial intelligence, are reshaping the craft, urging a more balanced view of AI’s role in storytelling. “One fear is that AI will take jobs,” said Mark Linfield, co-founder and co-CEO of Wildstar Films. “But it is more about how we use it alongside real storytelling.”

“The misconception is that AI makes things easy or fake,” he added. “But it should enhance creativity. For me it comes down to honesty in how we use it and present it.”

Beyond production debates, the festival also turned attention to one of the industry’s most persistent challenges: distribution. In a candid panel, producers pointed to the difficulty of securing funding and platforms for wildlife films, despite their artistic and educational value.

A key highlight was a live pitching session where six filmmakers from Kenya, Uganda, Tanzania and Botswana each had three minutes to present wildlife film projects to an international jury.

Uganda’s Jonathan Benaiah won, followed by Tanzania’s Erica Rugabandana and Kenya’s Victoria Wanjohi in third, with all winners receiving development and commissioning support.