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theguardian.com

@theguardian Sun, 03 Sep 2023 11:00:10

Bobi Wine: The People’s President review – electric insight into Ugandan power struggle

This gripping documentary follows the Afrobeats star as he spearheads a campaign to oust Uganda’s corrupt regime

When we first meet Bobi Wine, a popular Afrobeats musician turned Ugandan presidential opposition candidate, he beams with the sunny buoyancy that comes from being celebrated and adored. By the close of this urgent, electric documentary, Bobi is a changed man: sober, serious, not broken exactly, but certainly bruised by the experience of squaring up against the ruthlessly authoritarian incumbent president, Yoweri Museveni. In power since 1986, Museveni is not about to voluntarily step down.

To this end, in 2018 the then 73-year-old Museveni rewrites a clause in the Ugandan constitution that had hitherto barred people above 75 from running for the highest office, allowing him to stand for election yet again. In response, and with the support of his wife, Barbie, Wine steps up his opposition, graduating from cheery, toe-tapping protest songs to an official political campaign. The response from the Museveni regime is swift and brutal: Wine is arrested and severely beaten in custody. But this only serves to strengthen his resolve.

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theguardian.com

@theguardian Tue, 05 Sep 2023 12:00:27

Once Upon a Time in Uganda review – celebrating the simple joy of exploding heads on film

Cathryne Czubek’s documentary about an impoverished film-maker and an American superfan veers towards a white saviour narrative but the low-budget movie mogul’s charisma wins out

Here is a documentary about a self-taught film-maker from impoverished edgetown Wakaliga, near Kampala in Uganda, and the American fan who comes to meet him and becomes a collaborator. At first it looks like a bouncy, bright feelgood story barely disguising a white-saviour narrative under the surface; after all, that is what both director Cathryne Czubek and former publicist (and now fan) Alan Hofmanis are. That said, Czubek makes a concerted effort to crosscut between the viewpoints of Hofmanis and the charismatic figure who draws him to Uganda from New York in the first place: uber-low-budget movie mogul Isaac Nabwana, whose story rightly dominates.

Although former brickmaker Nabwana made thousands of bricks by hand (he demonstrates his technique with mud and frames for the camera) to be able to buy his first cameras, don’t mistake his lack of formal film education for naivety. He’s clearly absorbed most of what he needs to know from watching the action films popular in Uganda, featuring the likes of Chuck Norris, Bruce Lee and Sylvester Stallone. Working with an all-volunteer-crew recruited from his neighbourhood, Nabwana started out making endearingly shonky features with off-the-shelf visual effects, miniatures, and green screens so that he could drop in his trademark exploding head VFX. The propmaster lovingly shows off the guns he constructs from scrap metal and wood, while Nabwana’s cheerful wife Harriet helps out whenever she can, as an actor or cameraperson or effectively a producer who raises funds by making cakes. The finished films often are accompanied by live voiceover tracks supplied by local VJs who chuckle away and deliver a steady stream of patter, like Mystery Science Theatre 3000 characters.

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