BY D KASULE: Tourism and creative industry leaders have called for Uganda to intentionally use cinema and storytelling to market the country internationally. They say film has the power to transform the tourism industry, attract investors, and reshape the country’s global image.
Speaking during a side event at the Pearl of Africa Tourism Expo 2026, filmmakers, tourism officials, development partners, and government representatives said Uganda’s landscapes, culture, and stories could become major tourism attractions if the film industry receives stronger support and investment.
The discussions focused on how countries such as Kenya, South Africa, Nigeria, and New Zealand have successfully used film productions to market destinations globally.
Francis Nyende, Director for Marketing at the Uganda Tourism Board, said films often influence global perceptions more effectively than traditional tourism advertisements. “What comes to mind when you think about The Lion King? Kenya,” Nyende said, noting that successful films can create strong destination identities and inspire people to travel.
According to Nyende, Uganda’s tourism and film sectors have historically operated separately, but the country now has an opportunity to deliberately combine the two industries for economic growth. “One good film could literally change the story of a destination,” he said.
He explained that the tourism board could support filmmakers through incentives, easier access to filming locations, partnerships, and collaborative storytelling that promotes Uganda internationally.
Nyende also stressed the need for proper frameworks to guide partnerships between tourism agencies and filmmakers so that films can contribute directly to destination branding and tourism marketing goals. Ola Awako, Director General of the Nigerian Tourism Development Authority, said storytelling has become one of the strongest drivers of tourism promotion in Nigeria.
Awako explained that Nigeria’s success in film tourism came from deliberate cooperation between government and private sector players. “We believed in quantity first. The quantity sold Nigeria to the world,” he said.
He noted that Nigeria first focused on producing large numbers of films to build audiences before later shifting attention to higher-quality productions rooted in culture and traditions.
According to Awako, Nigeria has since invested heavily in film academies, professional training, and tourism-focused storytelling platforms that encourage viewers to visit locations featured in movies. “Nigeria is currently developing a tourism-dedicated streaming platform that will connect film audiences directly to travel opportunities and tour operators,” he revealed.
He explained that viewers who watch movies and become interested in featured destinations would immediately be connected to tourism packages and travel experiences.
Awako encouraged Uganda to continue strengthening collaboration between government institutions and private filmmakers, saying Africa’s storytelling traditions hold enormous potential for tourism growth and economic development. “With deliberate effort, Uganda can rise in film production and tourism development,” he said.
Basil Ajer, Director for Tourism in Uganda’s Ministry of Tourism, Wildlife and Antiquities, said government has already approved a new tourism policy that expands tourism promotion beyond wildlife and national parks to include culture, film, faith-based tourism, and creative industries.
Ajer revealed that the ministry has already developed a Memorandum of Understanding with the Producers Guild Uganda to guide cooperation between filmmakers and tourism agencies.
According to Ajer, the agreement seeks to create clear systems that allow filmmakers to access national parks, cultural sites, and protected areas without depending on personal connections or unclear approval processes. “The goal is to create clear guidelines so that access to locations does not depend on personal relationships or discretion,” he said.
He added that discussions are ongoing to establish structured filming zones and simpler access systems aimed at showcasing Uganda’s landscapes to international audiences.
Nana Kagga, Vice President of the Producers Guild Uganda, said Uganda’s film industry has already made important progress, with some local productions appearing on global streaming platforms such as Netflix and Primevideo.
However, Kagga noted that many opportunities remain concentrated in Kampala, leaving filmmakers in other regions without access to training, equipment, and professional networks. “We need to professionalize the industry nationwide,” she said. “Film is a business and we are selling a product.”
Kagga called for the establishment of regional film hubs, affordable production equipment, stronger training systems, and greater government involvement through policies and co-production agreements. She noted that many Ugandan filmmakers are self-taught, making it difficult to build standardized production systems capable of competing internationally.
“Uganda has incredible landscapes and stories, but we haven’t fully leveraged film as a tourism driver like other countries have done,” she said.
Nikissi Serumaga from the International Trade Centre said institutions supporting the creative economy must focus on building skills and helping creatives experiment with new business models.
Serumaga said her organization is already working on coordination tools and roadmaps to strengthen Uganda’s creative sector and improve collaboration among stakeholders.