In a landmark moment for Zimbabwean cinema, socialite and visionary director, Felistas Murata (a.k.a Mai TT) on September 27  premiered her box office production, Lost in Ashes, at Westgate Cinemas in Harare at a red carpet event that set the stage for the celebration of cross-African collaboration.

The motion picture comprises a cast of acclaimed Nollywood actors - Mike Ezuruonye, Mike Godson, Anita Joseph, Chinyere Winfred, Joy Patrick Ezedike, Iyke Odife and Flossy Florento -  that signals a vibrant new chapter in the region’s storytelling legacy.

This premiere was not just a celebration of contemporary artistry, but a resonant continuation of a rich and revolutionary tradition that has, over time, defined Zimbabwe’s theatre and cinema scene—a scene shaped by unwavering voices which have challenged social norms, preserved cultural identity, and articulated the country’s complex post-colonial journey.

Zimbabwe’s cinematic and theatrical history is a tapestry woven with ground-breaking works that have become essential cultural touchstones.

Films like Neria, directed by Godwin Mawuru, broke new ground in the portrayal of widowhood and women’s rights in a society emerging from colonial rule.

Ingrid Sinclair’s Flame courageously spotlighted women freedom fighters during the liberation war, a story that earned international acclaim while facing domestic censorship.

Michael Raeburn’s Jit brought the vibrancy of urban Harare and youthful romance to the screen with humour and heart, capturing everyday life in a newly-independent Zimbabwe.

The trajectory of Zimbabwean cinema also includes transformative milestones such as Tomas Brickhill’s Cook Off, the first Zimbabwean feature to grace Netflix, symbolising resilience and creativity in the face of economic adversity.

Films like Chinhoyi 7 and The Legend of the Sky Kingdom expanded the narrative scope, with the former dramatising a pivotal liberation battle, and the latter pioneering African animation through innovative “junkmation.”

These films have become more than entertainment, but vessels of national memory and pride.

Zimbabwe’s theatre has of late also been equally formidable, defined by powerful voices like Cont Mhlanga of Amakhosi Theatre, whose incisive political satires Waiting for the Constitution and Workshop Negative dared to confront the complexities of governance and society with piercing insight.

Stephen Chifunyise’s Two Weeks in September and Raisedon Baya’s Born African reflect post-independence struggles with identity, youth, and economic challenges. These stage works, less internationally known but equally profound, have given Zimbabwean audiences both reflection and resistance.

Mai TT’s film, emerging at this crossroads of vibrant heritage and innovative collaboration, encapsulates the spirit of Zimbabwean storytelling—resilient, multi-faceted, and always evolving. It joins a pantheon of works that have not only shaped national heritage, but also earned Zimbabwe’s rightful place on the international cultural stage.

As this new film unfolds on the Harare screen, it invites audiences and judges alike to witness the renewed renaissance of Zimbabwean theatre and cinema, where history, identity, and creativity converge to redefine what is possible.

Some critics argue that in the cultural tapestry of Zimbabwe, theatre and film once shimmered as pillars of vibrant artistic livelihood as back in the yesteryear, theatre troupes and film sets thrummed with energy, crafting stories that resonated locally and echoed internationally.

Fast forward to the present, they mourn, this once-flourishing sector teeters on the brink of extinction—a saga marked by glory, struggle, and resilient creativity.

It is a fact that the country’s theatrical tradition is woven from the threads of ancient indigenous rituals and colonial encounters. Pre-colonial theatre was a communal heartbeat—music, dance, and storytelling blended seamlessly in religious rites, harvest ceremonies, and initiation rituals.

These performances were indeed living repositories of cultural memory, embedding moral values and ancestral myths through vibrant oral dramaturgy.

Then with colonialism came Western dramatic forms, initially a blunt instrument of missionary didacticism. Yet Zimbabwean artists subverted and indigenised these influences, giving birth to a hybrid, politically charged theatre that became a medium of resistance and cultural affirmation.

Legendary figures such as Herbert Chitepo and Charles Mungoshi emerged, crafting narratives that intertwined nationalism, identity, and social critique.

Renowned Zimbabwean author, playwright, director, and actor Aaron Chiundura Moyo reflects on the evolution of Zimbabwe’s local cinema industry:

"During its peak, watching films in theatre houses across towns, townships, and compounds was a popular form of entertainment. These venues mainly screened foreign films, making it a lucrative business for stakeholders outside of local creatives. Although television offered a range of foreign movies and dramas, there was no true local film industry since most productions were not Zimbabwean.

“Locally produced films eventually emerged, such as donor-funded titles like Jit, More Time, and Neria. However, these donor-driven projects were too few to establish a sustainable industry. Even with local TV dramas sponsored by companies like Liver Brothers, the lack of competition and limited funding meant the industry remained nascent.”

Today, the film industry faces mixed fortunes, reckons Chiundura Moyo.

“Donor funding has dried up, advertisers have pulled out, and government support in the sector has somewhat ceased, leaving institutions like ZBC struggling financially. Yet, advances in technology have empowered both skilled and emerging filmmakers to produce content independently and distribute it online, bypassing traditional TV stations.”

Zimbabwean filmmakers such as Joel Njagu and Tsitsi Dangarembga have won international awards, yet the closure of traditional cinema venues to other uses, coupled with piracy and slow online monetization, constrain growth.

Ultimately, the industry has yet to fully mature. As Moyo states, 'Our film industry is yet to grow because as long as it fails to take care of its workers it is not there.'"

Research shows post-independence Zimbabwe witnessed a theatre renaissance. Organizations like the Zimbabwe Association of Community-based Theatre (ZACT) championed indigenous narratives aligned with socialist and nationalist ideals, while the National Theatre Organisation (NTO) largely served minority white audiences.

Despite ideological divides, theatre became an arena of vibrant cultural production, with some 300 companies operating by the mid-1990s.

In parallel, the film industry nurtured home-grown talents whose works began traversing global screens. Zimbabwean cinema found new voice through filmmakers like Joe Njagu while actors such as Tongayi Chirisa bridged local roots and Hollywood acclaim, symbolizing the industry’s potential to captivate international audiences.

Yet this cultural flourishing now seems to have faltered. Zimbabwe’s theatre and film sectors face a confluence of systemic hurdles jeopardizing their survival. A lack of structured funding and government policy support starves productions of necessary capital.

The collapse of traditional financial bases undermined institutions such as the NTO, thinning the backbone of organizational sustainability.

Censorship and restrictive regulations stifle creative freedom, while inadequate compensation from broadcasters and investors disincentivises artistic entrepreneurship. Furthermore, the absence of a formalized film policy perpetuates a dependence on self-financing or external donors, which is unsustainable for long-term growth.

The economic turbulence gripping Zimbabwe compounds these challenges. High inflation, cash shortages, and fluctuating currencies amplify production costs and limit access to essential technology and infrastructure. This economic backdrop has led to theatre clubs collapsing and many filmmakers abandoning the craft.

However despite the gloom, Zimbabwean creativity endures. Filmmakers and theatre practitioners navigate the digital age by leveraging global streaming platforms and international film festivals to showcase Zimbabwean stories to a worldwide audience.

Advocates like Nakai Tsuro campaign for policies that can nurture the industry, while celebrated actors mentor emerging talent, keeping the cultural flame alive.

Recent national strategies aim to inject new life into the sector, including plans for film funds, fostered public-private partnerships, and infrastructure development. These initiatives align not only with economic growth goals but also with broader sustainable development ambitions, including poverty alleviation and gender equality.

In November 2024, Government, through the National Arts Council, launched the country’s first comprehensive film strategy that will cover the period 2025-2030.

It was revealed at inception that the ground-breaking blueprint offers a candid and hopeful analysis of the industry's current landscape, drawing from insights gathered nationwide from filmmakers and industry professionals.

It reveals a sector brimming with untapped potential—ready to elevate the quality of productions and significantly boost earnings for those involved across the film value chain.

At the forefront of the launch was then Acting Minister of Sport, Recreation, Arts and Culture, Kazembe Kazembe, represented by Deputy Minister Emily Jesaya, who reaffirmed the government’s unwavering commitment to reshaping the film industry.

“This pledge aligns perfectly with Zimbabwe’s broader vision of becoming a prosperous upper middle-income society by 2030, ensuring that film will be a vital part of the country’s cultural and economic future.

“The strategy is built around nine critical pillars—Governance and Regulation, Funding and Financing, Infrastructure and Facilities, Copyright Protection, Collaboration at local, regional, and global levels, Market Development and Distribution, Film Education and Training, Inclusivity, and Research and Development. These pillars will steer the industry’s priorities and set measurable goals for the years ahead,” she promised.

And acknowledging that success demands unity, the Permanent Secretary for Information, Publicity and Broadcasting Services, Nick Mangwana, highlighted his ministry’s key role in film distribution through broadcasting channels. If complemented, the combined efforts of government, stakeholders, and filmmakers, coupled with this strategic framework, carry the promise of a new dawn for Zimbabwean cinema.

“It’s a landmark achievement, hopes run high that this strategy will spark an industry renaissance, empowering Zimbabwe’s storytellers to claim their rightful place on the regional and global stage,” noted prominent filmmaker Joe Njagu on the sidelines of the event.

Zimbabwe’s theatre and film histories are sagas of resilience—where vibrant indigenous legacies meet post-colonial realities, creativity confronts structural constraints, and local narratives strive for global recognition.

And though the industry teeters precariously, the commitment of artists and emerging institutional support offers a beacon of hope.

For Zimbabwe, reclaiming its rightful place on the world’s artistic stage demands renewed investment, policy clarity, and a communal spirit reminiscent of its theatrical origins—a bold reawakening where yesterday’s rich heritage fuels tomorrow’s resurgence.