In the exciting world of filmmaking, there are visionary artists whose stories captivate audiences, leaving a lasting impact. Ng'endo Mukii is one such trailblazer, a talented black female film writer whose narratives shine brightly in the cinematic landscape. From the beginning of her creative journey to her current success, Ng'endo Mukii's story is a testament to her strength, imagination, and commitment to diverse storytelling.
In this exclusive interview, we explore Ng'endo Mukii's inspiring path in the film industry. Discover the inspiration that led her to become a storyteller and the exciting projects she worked on. With a passion for authentic representation, Ng'endo Mukii shares her unique approach to storytelling, aiming to empower and inspire young black women aspiring to make their mark in the world of cinema.
Can you tell us about your journey as a black female movie writer? What inspired you to enter the film industry, and how did you overcome challenges along the way to achieve your current success?
My exciting journey began when I was young, setting out on a path that would shape my future. After high school, I went to art school at the Rhode Island School of Design, focusing on illustration, which felt like the right fit for me.
However, a video course changed everything. I got thrilled by the ability to manipulate time through timelines, so I switched my focus to film animation and video.
Over the years, I explored various creative pursuits. I worked on documentary films, animated projects, and even contributed to children's TV shows. Through these experiences, I unexpectedly discovered my love for writing, which became an integral part of my artistic journey. This exciting twist continues to guide me as I embrace the adventure of creativity.
Representation and diversity are essential aspects of storytelling in today's film landscape. How do you, as a black female writer, incorporate diverse perspectives and experiences into your projects, ensuring that they authentically resonate with audiences?
I think this is one of those things where, sometimes you’re in specific environments and you’re asked to be on the diversity committee, etc, and like well I’m already present here so am I not already doing the work? And I feel like this is something similar, I don’t have to do the work to be diverse cause I’m working from my own personal perspective. And also considering the space in which I’m working, then my job is always going to be some kind of an outliner there.
So we just finished this anthology of African Animated shorts for Disney, it’s called Kizazi Moto. And even within the 10 films, my film is so pink and girly and full of glitter, and of course, it’s going to look like that because you can see the other movies where it's a woman that directed this on their own. You can see the colours, you can see the focus of the story, you can see the personality coming through and that diversity comes through because we are diverse in these spaces.
In my case, as a filmmaker from Kenya, I represent diversity within the local film industry. However, when it comes to economic and socio-political diversity, I acknowledge that I may not be able to provide that perspective because it's not my personal experience. It's essential to recognize that the scope of diversity varies depending on the context and location.
If the film industry becomes more inclusive and open to embracing a broader range of voices, we can expect to see a wealth of diverse stories emerging. By including more creators from the global majority, we can break away from the dominance of a minority group and pave the way for a more vibrant and inclusive storytelling landscape.
Many of your works have showcased powerful stories about black women and their experiences. What motivates you to tell these stories, and how do you believe they contribute to a more inclusive and representative film industry?
"Yellow Fever", for example, is a story where I wanted to go more in-depth on skin bleaching in Kenya and the beauty practices that we have and it became evident that the questions I was asking already existed within my family. Because I was looking at beauty standards, I wanted to have a more reflective piece and really unpack this history of why we find solace in these practices, and how they make us feel, and the interview was going to be all women within my family.
The title Yellow Fever is based on a Fela Kuti song from the 1960s, to early 1970s where he was criticising Nigerian women for bleaching their skin and in the song he’s literally yelling at them and calling them names and telling them they’re stupid. And I felt that it was such a male perspective to have, these black women bleaching their face and skin, but you don’t ask why?
So I feel like this is a more emphatic approach to filmmaking in general, asking why and looking deeper. And cause I’m interested in my own journey a part of my filmmaking is somewhat therapeutic, or looking at history within my family and looking at them from my perspective.
As a black female writer, how do you balance staying true to your artistic vision while also meeting the demands of commercial success in the film industry?
I think the work I’ve been doing in Kenya for the last 10 years, I’ve done a lot of NGO work, and NGOs were approaching me specifically because they didn’t want their films to look like NGO films and they wanted more creativity, they wanted different ways of storytelling and you know I always understood if someone would send me an email or call me, saying they want to make a film, that would be the reason they approached me. So we always needed to be clear at the beginning before we started any work or signed any contracts that I would have creative control over, we wouldn’t work together if I’m not going to, make the film in the way that I want. There may be some limitations but in terms of my ability to experiment with different mediums, if I want to do the film with poetry, if I want to do a lullaby, or whatever it is. We always started a project understanding that I have that creative control.
Over the past decade, my work in Kenya has been primarily focused on collaborating with NGOs. Interestingly, these organizations sought me out precisely because they wanted their films to break away from the typical NGO style. They craved more creativity and diverse storytelling approaches. Whenever I received an email or a call from an NGO interested in creating a film, it was evident that they approached me for this reason.
Before embarking on any project or signing contracts, we made it a point to establish clear communication from the start. I insisted on having creative control over the films we produced together. It was a non-negotiable aspect of our collaboration. While there might be certain limitations, I always had the freedom to experiment with various mediums and storytelling techniques. Whether I wanted to infuse poetry, lullabies, or any other innovative element, it was essential for me to retain that creative authority. This understanding formed the foundation of our projects, ensuring a harmonious and fulfilling creative process.
As a role model for aspiring black female film writers, what advice do you have for those seeking to break into the film industry and make their mark while staying true to their identity and vision?
Entering the film industry doesn't necessarily require attending university. Numerous alternative options such as courses, workshops, residencies, and various opportunities offer ways to gain valuable experience in the field. Even for those who have pursued higher education, establishing a strong network and becoming known within the industry requires active socializing.
I once spoke with someone who mentioned that they only grant opportunities to individuals they have personally met. It's not a matter of bias or favoritism but rather a genuine need to understand the filmmaker as a person. To meet these influential individuals, film festivals and workshops serve as essential platforms where you must put yourself out there and engage with others if you hope to be noticed. However, for animators, who tend to prefer solitary work and might find socializing and making eye contact challenging, breaking the ice and initiating conversations not related to work can be daunting.
The global film market offers a diverse audience with varying cultural backgrounds and perspectives. How do you approach storytelling to create narratives that resonate with a wide range of viewers while staying true to the essence of your stories?
You know there was a post recently, there's this really fantastic woman from Senegal and she lives in France, her name is Zai Sylla and she had a post reflecting on a comment on someone saying they can’t relate to Black stories cause they aren’t black and this has been an issue in the industry because you have black people telling their stories and it’s so whitewashed and watered down so that an international audience can understand it. And I think there are sort of 2 elements that interfere, and the first is that we are still centring whiteness within the spaces that are becoming diverse and therefore watering down these diverse people so that they still fit close to whiteness to be legible, which I find frustrating.
And second, I think we’re kind of underestimating or maybe just reacting to all the racism that exists that prevents people from connecting with us because we’re still human beings, why should I be able to connect to a story about a white orphan in London who goes to a chocolate factory and wins a golden ticket. So I think, it's just the fact that they are racist and can’t connect to people that don’t look like them. And I think that for those types of people, we might never be able to connect with them. So for the rest of white people and other races, we have to not underestimate that they can be able to connect with our stories, simply because they are told by black people.
As a storyteller, you often explore themes of empowerment and resilience in your work. How do you hope your stories impact viewers, particularly young black women, and inspire them to pursue their dreams despite the challenges they may face?
I recently completed a film titled "Enkai," part of the Kizazi Moto Anthology, which revolves around themes of resilience and freedom. A central focus of this film is to reach out particularly to black indigenous women and help them recognize the weight of social burdens they have carried and felt obligated to bear. These burdens include conforming to the stereotype of the strong black woman, persisting through hardships, dealing with pain, and sacrificing oneself for others.
Throughout "Enkai," the daughter, Enkai, comes to a crucial realization that perpetuating self-sacrifice will only lead to the downfall of her mother. She takes it upon herself to convince her mother that this cycle doesn't have to persist, and they can break free from this generational burden.
While resilience and strength remain prominent elements in my films, my ultimate goal is to leave a lasting legacy of the idea that we can embrace freedom and joy without feeling the need to justify it. The film encourages the belief that our happiness and contentment are inherently valuable and do not require any external validation.
Another film I've had the pleasure of working on was the Supa Team 4, of whom Malenga Mulendema is the sole creator of.
Overall it was an amazing pleasure to speak with Ng'endo and get an insight of what the film industry is like for Black women, and also be sure to support her latest film Enkai which you can now stream on Disney Plus.
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