Now, that story is travelling far beyond Uganda. Selected for the Forward Future Award at the Beijing International Film Festival (BJIFF), Small Gods is being screened for Chinese audiences during the festival in a section dedicated to showcasing emerging filmmakers and bold new cinematic voices. Being screened from April 16 to 26, it offers a glimpse into lives and struggles that are still rarely seen on Chinese screens.

It is not the only African voice at the festival. Egyptian film Happy Birthday and Sudanese feature Goodbye Julia are also part of the lineup, within a wider selection of about 260 films from around the world , currently screening across the Beijing–Tianjin–Hebei region.

For African filmmakers, BJIFF serves as a significant gateway to Chinese audiences. African cinema has reached China in waves since the 1950s, yet it has rarely secured a stable place in mainstream distribution. Film festivals like BJIFF help bridge that gap, expanding visibility, opening opportunities for co-production, and connecting African stories with local filmgoers. 

Reaching Chinese audiences is not only an economic opportunity, but also a cultural one. As an artistic form that transcends borders, film and TV offer a window into African societies, allowing viewers to engage with their everyday lives, social realities, and experiences that remain relatively distant.

Kenyan filmmaker Vallentine Chelluget, co-director of Nawi: Dear Future Me , is optimistic about the role film can play in China–Africa cultural exchange. His film was shortlisted for the Tiantan Award and received a Special Jury Honor at the 2025 BJIFF, reflecting a growing recognition of African storytelling on Chinese screens. “We’re not just telling stories for entertainment,” he said. “We’re building bridges  of understanding, empathy, and dialogue.”

This exchange is not one-directional. In recent decades, Chinese film and TV productions have also found growing audiences across Africa, supported by local language dubbing and expanding access to digital broadcasting. 

One early example came in 2011, when the Kiswahili-dubbed version of the Chinese TV drama titled Doudou and Her Mother-in-Law aired in several East African countries, including Tanzania, Uganda and Kenya. It became one of the first Chinese screen productions to gain popularity among African audiences in recent decades.

The series follows a young woman navigating family relationships and work pressures, while living through tensions between her mother-in-law and stepmother-in-law, set in an everyday domestic setting. Many African viewers, particularly women, responded to its depiction of intergenerational family dynamics and emotional negotiations within households. 

At a time when much of the Chinese content available in Africa was still dominated by kung fu films and action-heavy narratives, it also offered a glimpse of everyday life in contemporary China, grounded and relatable.

According to Tanzanian broadcaster Joe Lugalabamu, “ people kept calling and sending messages to say how much they liked it.” 

In the years that followed, more Chinese films and TV dramas found audiences across African broadcasters. The 2025 animated adventure film Ne Zha 2 has gained traction in several countries, including South Africa, Nigeria, and Kenya. Luc Bendza, a representative of the African Film Association in China, said the film’s spirit of taking control of one’s own destiny has resonated strongly with local audiences. 

This cultural exchange is further strengthened by improvements in broadcasting infrastructure. In many rural areas across Africa, limited connectivity restricted television access in the past. 

Since 2017, however, expanded broadcasting and digital infrastructure, supported in part through the framework of the Forum on China-Africa Cooperation, has increased access to television services in more than 20 African countries, widening access to global content. By 2024, TV services had reached 10,112 villages across Africa, benefiting over 190,000 households, according to reports. 

For Ugandan filmmaker Isaac Nabwana, this influence is deeply personal. Raised in Wakaliga, a poor neighbourhood in Kampala, he grew up with limited access to digital television. His early impression of Chinese kung fu films came not from watching them, but from stories he heard from his family.

Undeterred, he taught himself basic editing and filming skills and began making low-budget productions in his village, using everyday materials to recreate action effects. His breakout film Who Killed Captain Alex gained international attention online, blending local storytelling with action aesthetics inspired by the Chinese kung fu films that first sparked his passion. 

Today, with improved access to television, Nabwana says he and his team can watch a wider range of Chinese films and TV dramas at home, continuing to draw inspiration from them as they develop their own voice.

From the screens of the Beijing International Film Festival to living rooms across Africa, stories continue to move back and forth between the two regions. For filmmakers and audiences alike, these exchanges are not just about visibility, but about how stories are seen, understood, and interpreted across different cultural contexts. 

The article solely represents the views of Chen Ziqi, a Beijing-based journalist with CGTN, known for covering cross-cultural and international stories.

The festival’s name is a portmanteau of cinema and laya — “freedom” in Filipino — reflecting its mission to champion filmmakers who “boldly articulate and freely interpret the Filipino experience.” It also aims to position the Philippines as “the cinematic centre of creativity and free artistic expression” in Asia. 

For more than 20 years, Cinemalaya has done just that. 

But its 21st edition arrived with unusual challenges. Two years ago, it was forced to move out of its longtime home at the CCP, now under renovation. Funding setbacks then forced a delay, moving its usual August run to October. 

This year’s theme, “ Layag sa Alon, Hangin, at Unos ” — in English, “Sail through the Waves, Winds, and Storms” — acknowledges this turbulence.

“We thought everything would be smooth sailing,” festival director Chris Millado admitted during Cinemalaya’s September 3 press conference. “But no. Cinemalaya, as you might have heard, almost capsized.” 

Despite setbacks, the festival pressed ahead. From October 3 to 12, 20 films will be screened at Shangri-La Mall cinemas in Metro Manila, continuing Cinemalaya’s tradition of presenting independent voices to wider audiences.

“Remember, 21 years ago, the whole Filipino industry was caught in the doldrums. There were no waves. It was stagnant,” Millado recalled. “And through Cinemalaya, it started to persevere and soften until it started harnessing the direction of this wave after wave of a new breed of filmmakers and their storytelling.”

Among this year’s entries is “ Republika ng Pipolipinas ,” the full-length directorial debut of Renei Dimla. The film tells the story of a disillusioned farmer who renounces her Filipino citizenship and establishes her own micronation to resist a government project that threatens to seize her land. 

The premise resonates strongly in a country where agriculture remains central to livelihoods, and where recent investigations into flood-control infrastructure have exposed deep-seated corruption.

“It’s a mockumentary because it brings together people from all walks of life — a mother whose child was killed during the drug war, an artist without government support. They all form the republic,” Dimlai told Global South, noting the social commentary aspect of the film.

Transgender struggles take the spotlight in Kevin Alambra’s “ Warla ,” a crime drama loosely inspired by real events. It follows a 19-year-old transgender woman who finds the family she longs for in a gang of trans sisters that kidnaps foreign men to fund gender-affirming surgeries.

The Philippines is home to the largest trans population in Asia — about 239,000 people, according to World Population Review. Yet in a predominantly Catholic country, queer communities continue to face stigma and discrimination.

“I felt the need to tell it and to humanise trans women because real people are behind this story,” Alambra told Global South World. “We hope that people start to be more active in understanding transgender lives, because it’s their lives we’re discussing.” 

Another feature, “ Paglilitis ” (The Trial) by Cheska Marfori, focuses on an employee persuaded by a determined lawyer to file charges against her powerful former boss, who had sexually harassed her in the workplace.

Set in the Philippines — dubbed the “social media capital of the world,” where nearly three-quarters of the population is online — the film examines how support and backlash collide in a digital space shaped by the rise of so-called woke culture.

“The patriarchy is deeply embedded in the office in this story, along with the power structures that sustain it,” Marfori told Global South World. “The office becomes a representation of the Philippines and, on a larger scale, the world.”

Other full-length features in the competition are “Bloom Where You Are Planted" by Nonilon Abao, "Child No. 82" by Tim Rone, "Cinemartyrs" by Sari Dalena, "Habang Nilalamon ng Hydra ang Kasaysayan" by Dustin Celestino, "Padamlágan" (Night Light) by Jenn Romano, "Open Endings" by Nigel Santos and Keavy Vicente, and "Raging" by Ryan Machado.

Screenings will primarily be held at Shangri-La Plaza, with Ayala Malls Cinemas and Gateway Cineplex also serving as festival venues.

“I’m not worried about women in the film industry,” Davis told AFP. “We’re used to adversity… and now we’re becoming the change we want to see.”