NBO Film Festival: The Battle for Laikipia plays out vividly on opening day

I barely made it on time, and at that point, it was all that mattered. Fatigue was catching after seven hours of staring at a computer screen and just three hours of sleep the previous evening.

Outside, a stand-out white tent, with a red carpet rolled out at the entrance to guide people in. A small crowd had already gathered. The ushers and registration team got us sorted quickly, handing out tags and some coloured fridge magnets (stickers).

I must admit, the setup was decent. They had an open standing area, drinks off to the side, and some artistically arranged sofas for those who wanted to just lounge. It was still early, I thought to myself as only a few people were milling around. I spotted Eugene Mbugua, and walked over to say hello, and the conversation didn’t go well which was all on me (the classic wrong questions, wrong place and time).

After fumbling my way through some pleasantries, I went for more coffee.

Except—no coffee. At least, not in the drinks area. So I turned around, and there’s Eric Wainaina, right in front of me. I froze like a deer in the headlights. Almost said something, but then remembered: coffee. The food court was a few steps away, again a good location, so I made my way over.

Twenty minutes later, with a double shot of espresso in full command of my system, I was back to the tent, more relaxed having learned my lesson from the first interaction. More people had shown up, and the space now felt alive. The open layout was perfect, giving everyone room to move around and talk.

After exchanging pleasantries with a few industry players, I bumped into Elsaphan Njora or he bumped into me, the guy was everywhere, impeccably dressed as usual. We got into a surprisingly deep conversation, and before I knew it, more people were passing by saying hello—drawn to Njora’s presence (or maybe the suit).

Soon enough, I found myself shaking the hands with writers, directors, and producers some familiar others I had never met.

The opening ceremony kicked off with a speech from Sheba Hirst and Mbithi Masya, followed by a representative from the European Union. There was a small award ceremony too. If I had to point out something, I’d say they could have used an MC, preferably a stand-up comedian, they usually have a way with crowds that in this case would have made sure even the people at the back stayed engaged.

After the ceremony, we were directed to the theatre. I loved the idea of using the coloured fridge magnets/stickers to guide us to the right screening.

My only critique? They could’ve used colours with a strong contrast. By this point, my coffee buzz was wearing off, and I could feel a migraine creeping in. I figured once I sat down in the dark theatre, I’d be out cold even though I was looking forward to the film.

Then as the crowd started moving, I spotted Philippa Ndisi-Herrmann from Subterranea with Angela Wamai, had a quick chat with them, spotted Jennifer Gatero, as I headed towards her ran into Likaron Wainaina. We talked briefly before an elegantly dressed (in the choice of colour) Gloria Nkatha from “Talk Film to Me” podcast passed by and for a minute we were all distracted.

Eventually, I made my way to the theatre full of a diverse crowd which made for an interesting viewing(more on that later). The espresso’s effect was wearing off, and the migraine was fully kicking in. I thought coffee helps with migraine but I guess I was wrong. I set an alarm for 9:30pm, pretty sure I’d doze off before the film even started. The national anthem played, the lights dimmed, and the movie began.

I was looking foward to this documentary, especially after all the buzz around its international festival circuit. So, before we begin, what’s The Battle for Laikipia about?

Unresolved historical injustices and climate change raise the stakes in a generations-old conflict between indigenous pastoralists and white landowners in Laikipia, Kenya.

I’ll keep it as vague as possible, to avoid spoilers—this is one of those films you should go into with as little prior knowledge as possible.

Right from the start, the filmmakers embrace the “show, don’t tell” philosophy. There’s minimal exposition, only used when absolutely necessary. They make great use of wide establishing shots and B-roll, not just to set up a scene, but to communicate. These sweeping visuals are stunning, with a top-down shot in the first act and a wide shot in the third capturing the true essence of Laikipia.

Some shots are held long enough to tell their own story without any need for dialogue or music. In fact, the ambient sounds are often left untouched, letting you fully absorb the environment. Just looking at a lot of the shots, I started to understand the deeper layers of the conflict—Laikipia is breathtaking, and the film captures that beauty effortlessly.

The documentary starts slow, easing you into the world and characters, but as the tension builds, the pace rumps up. The edits allow you to connect with the characters on both sides of the conflict. One of the documentary’s strengths is how it presents a fair argument for both sides. It challenges you to take a position, only to turn around and introduce elements that make you question your choice.

By the third act, the lines are blurred. The film reminds you that, at the end of the day, these are all Kenyans, no matter which side you are on. The authenticity in showing the day-to-day lives of these two groups, their communication style, and their day to day struggles, adds to the depth of the conflict.

There are sneaky moments in the documentary that hit me hard—like emotional gut punches that I never saw coming. These moments got me thinking about heritage, family, and life itself. Sure, we’ve all seen movies like The Lion King talk about the circle of life, but nothing hits quite like the third act of this documentary.

Even the little details stood out. One thing that struck me was how, despite their differences, both groups shared a strong family bond. Another was the role of legacy media—while people in cities might say legacy media is dying, the documentary proves that there are still places where it still has a huge impact and influence.

I also thought while we get to follow people in this conflict, the livestock Mother nature and the land were the true MVPs [most valuable players].

If I had one small critique, it’s that the film felt like it had three endings. Some of those final scenes, while important, felt placeholder like they could’ve been moved around like Lego pieces when need be.

Overall, this is a thoughtful documentary. It doesn’t just explore the politics of land ownership; it offers an intimate look at two groups of people and the lengths they’ll go to when pushed.

The Battle for Laikipia captures not only the conflict, but the beauty and fragility of life in a way that sticks with you long after the credits roll.

Most importantly, I was awake and alert throughout the film. Yes I did leave the theatre emotional and psychologically drained, but throughout the show I forgot everything that I was going through for the entire runtime.

As the Nairobi Film Festival continues after the opening, I had an opportunity to watch two films on Saturday, October 19th, that stood out for me.

Written and directed by Angela Wamai, Shimoni is a deeply introspective film that follows Geoffrey, who, after seven years in prison, returns to his rural hometown in an attempt to rebuild his life. He seeks refuge in a local Catholic church, but his fragile sense of security is shattered when he encounters someone from his past—a person he hoped never to see again.

The film’s use of location, props and settings firmly grounds it in a specific region of country . Small details, like particular items and milking containers and outfits that are solely associated with farmers and just the general structure in most of the location, enhance the authenticity of the film.

The cinematography captures the lush greenery of the location beautifully and at the same time with quiet, lingering shots in the shadows convey the isolation and tension of Geoffrey’s situation. There’s framing and composition while incredible and adhering to principals of film are done in such a way that they maintain the authentic and ground nature of the story. You Brolls that artistically capture random day to day object that in some cases would go unnoticed.

There’s a strong sense of structure and direction, the escalation of events feel well thought through . You can tell the team behind and infront of the screen made an effort to make this work. From the cast to the wardrobe and art department to the cinematographer these teams did a good job creating an authentic look for the film.

Justin Mirchi’s portrayal of Geoffrey is perfectly cast and the actor put in the work in becoming the character starting with his physical presence (especially in the shadows) that adds depth to the character’s outsider status. His interactions with Sam Psenjen, who plays a contrasting character and Martha, are among the film’s most intense moments.

But the standout performance comes from Muthoni Gathecha as Martha. Her role is written and performed with such authenticity that, at times, you forget she’s acting. Her character adds a compelling layer to the story as Geoffrey struggles to reintegrate into a community.

Mzee Juma also brings in a laid back but effective impact on Geoffreys arc that when I thought of it ilater on is both tragic and inspiring.
Something else that I thought worked was the final frame of the movie. It was a small window into the past that helps elevate the story
Despite its strengths, Shimoni sometimes feels like an art film, with slow pacing that will test your patience.

Now what I got from the director is that she was going for a middle ground, a film that balances the “entertainment factor “and the “film as an expression” factor with the addition of some humour in the film. Apart from that Some subplots are left unresolved, which can be frustrating as they were used to draw you into the story, like the murder, I was left with more questions than answers by the end of it.

While the weightytheme of sexual abuse is central, I found the exconvict story (Geoffrey’s attempts to reintegrate into society) more compelling and intriguing.

This film feels like a quintessential festival film—thought-provoking, with an artful approach to filmmaking with decent cinematography. Though the pacing and subplots could have been improved the film benefits from grounded strong performances, a good sense of direction and structure.

Shimoni also be screened on Tuesday 22 October at the Prestige Plaza from 7:30 and Wednesday 23 october at Unseen

As an animator, it’s rare to experience a full-length 2D animated film from another African country, which made Mystery of Waza an intresting watch. The film follows Abdul, Bilama, Moudio, and Nguiamba—four friends and students at the Scientific University of the Sahel—as they investigate a series of disappearances at their school. Their journey leads them to the heart of an archaeological treasure in Waza National Park.

The animation blends 2D and 3D techniques, with some scene having 2D shaders on 3D assets, which works well to create detailed, immersive environments. While full-length 2D features are rare in Kenya, Mystery of Waza is an example of how the medium can be used effectively to tell a thrilling adventure story.

The film’s pacing and structure felt similar to live-action, with well-defined three-act arcs, and the character design—particularly the use of color—that makes it easy to follow the four main characters.

However, the pacing in the second act felt uneven, and the story juggled too many subplots, which sometimes detracted from Abdul’s character arc. A more focused narrative might have tightened the overall experience. That said, the clean, vibrant design, and the African mythology angle, kept me engaged throughout.

The NBO film festival will continue up to 27th of October and it’s a great opportunity to watch some unique and thought provoking productions.