By BAMUTURAKI MUSINGUZI

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Esteri Tebandeke spoke with Musinguzi Bamuturaki on her work, role in the film and festival.

The Little Black Dress by Ugandan filmmaker Esteri Tebandeke has received top billing at the 27th edition of the Pan-African Festival of Cinema and Television of Ouagadougou (Fespaco) in Burkina Faso to be held between October 16 and 23. Esteri is a graduate of the Margaret Trowell School of Industrial and Fine Art at Makerere University, Kampala.

She was born in Kampala in 1984. She writes, directs and produces film with her husband Samuel Tebandeke, also a filmmaker who co-produced Little Black Dress.

What does it mean to you to have a film you wrote, directed, co-produced and starred in featuring at Fespaco?

I am excited and that I will also get to represent Uganda and meet amazing film makers means a lot.

What was the inspiration behind Little Black Dress?

I needed to make a film that I would immerse myself in, rather than wait around to be cast in other people’s films. So I play the female protagonist stuck in a cycle of routine, obligation and guilt but figures out a way to reset her life amidst a feminist uprising.

What is the state of the Ugandan film industry?

We are getting better despite suffering the effects of Covid-19. For example the commission works and engagements by MultiChoice and Pearl Magic have animated the industry.

What challenges is the industry facing?

We need professional training to improve our stature, but also financial literacy to commercialise our products.

What has been your best production so far?

I have enjoyed and learned a lot from every production I have worked on. Imperial Blue directed by Dan Moss stands out for me, because he helped me grow as a director and actor and allowed me to become the character Kisakye on my own terms. Also, shooting on location in Ndali village in Fort Portal, proved challenging to me as an actor.

How has Covid-19 pandemic impacted creatives?

It’s been impossible to put up shows for stage and live performances, but we embraced technology to help us to reach even bigger and varied audiences virtually.

How have you maintained your creativity?

I have taken to technology like most people to stay relevant and continue telling stories. For example I will be hosting a women’s film festival called the Reel Rooms Film Festival in November. It will be a hybrid event with 80 percent of it happening online. The pandemic will pass. Creativity and technology are our best friends.

How much are women participating in the sector?

More of them are now gaining their place behind the camera as well as in decision-making positions in the film. Reel Rooms festival will offer a platform to more women to exhibit work they wrote and direct.

How do you combine film-making, acting, dancing and visual art?

Since they are all forms of art, the line is blurred. But over the years, I leaned more towards acting and filmmaking. I believe that one day I will put my fine art degree to use and exhibit acrylic paintings and installations.

What is your life like outside filmmaking?

My husband is also a creative so we understand each other’s challenges since we work together a lot and hang out together. I make time to text, call and check on my siblings at least once or twice a week.

When did you realise your interest in being a creative?

Growing up I was always in some sort of visual performance. I carried clay in my school bag and moulded tiny sculptures of Pingu, the television penguin cartoon character and made my siblings voice them over as I staged puppet shows at home. I got spanked a lot for having a dirty school bag full of clay.