Africa seen through the lense of a young film-maker

During a pause in our conversation, she picks up a bottle of water.”: “Why use so much water to bottle just half or a quarter litre?” she poses.

And this is how her film Pumzi came about.

She spent time with an equally quizzical colleague together with whom they tried to construct the world, several years from today.

The mini-skirt must have disappeared from this world to leave a bare body.

All the water was gone, life was on the verge of extinction. But there was hope and that is what seems to endear her and her work to many.

It shows hope even where hopelessness seems to permeate every space.

“I tell stories of the Africa I know, not what they have prescribed,” says a philosophical Wanuri. She is not very patience with ghetto filmmakers in Africa who live off other people’s misery.

“I would rather tell the story of the Africa that I know well—a knowledgeable continent that is ready to fly.”

This sounds a romanticised concept, but not to Wanuri.

The topic interests her, and it seems like she can go on and on.

She thinks that African storytellers must be conscious of what they spew out and should generate interesting discourses, not make bland statements that cannot arouse interest in their works.