NAIROBI, KENYA – In a powerful address that reverberated across the global film community, American actor and director Kristen Stewart fiercely condemned the systemic neglect of female filmmakers, a sentiment that finds strong echoes in the ongoing struggles and triumphs of women in Kenya’s creative sector. Speaking at the Academy Women's Luncheon in Los Angeles on Tuesday, 4 November 2025, Stewart described the industry as being in a "state of emergency" over gender inequality.

"We can discuss wage gaps and taxes on tampons and measure it in lots of quantifiable ways, but the violence of silencing... It’s like we’re not even supposed to be angry," Stewart stated to an audience of influential Hollywood figures. "But I could eat this podium with a fork and... knife, I’m so angry." Her frustration stemmed from an eight-year battle to produce her directorial debut, "The Chronology of Water," an adaptation of Lidia Yuknavitch’s 2011 memoir. Stewart lamented the "bare-knuckle brawling" required when content is deemed "too dark, too taboo," a familiar hurdle for creators pushing boundaries.

A Familiar Narrative in Kenya

Stewart's impassioned critique of a post-#MeToo Hollywood that has failed to deliver substantive change resonates deeply within the Kenyan context. While Kenya's film industry, often dubbed 'Riverwood', has seen a rise in talented women behind the camera, they face a distinct set of parallel challenges rooted in patriarchy, funding disparities, and cultural censorship. Women in Kenya's creative industries continue to face marginalisation driven by stigma, stereotypes, and male-dominated networks.

According to a May 2024 report from the Kenya National Bureau of Statistics (KNBS), women now make up 40% of those directly employed in the local film industry, a significant stride. However, leadership and directorial roles remain a tougher battleground. Securing project financing is a primary obstacle, with women facing additional structural biases that contribute to a significant gender gap in funding. This forces many female creators to seek international co-production financing, as was the case with Wanuri Kahiu’s acclaimed 2018 film, "Rafiki".

The Battle Over Content and Control

Kahiu's experience with "Rafiki" serves as a potent Kenyan case study for the very issues Stewart decried. The film, a love story between two young women in Nairobi, was the first Kenyan feature to premiere at the prestigious Cannes Film Festival, where it received a standing ovation. Despite its international success, the Kenya Film Classification Board (KFCB) banned the film domestically, claiming it sought to "promote lesbianism in Kenya contrary to the law and dominant values of the Kenyans." The board demanded Kahiu change the ending to be less hopeful and show the protagonist as remorseful, a demand she refused.

This clash exemplifies the fight against sanitised, state-approved narratives. Kahiu has spoken about the difficulty of being a filmmaker in Kenya, where the art form is underappreciated and funding is often tied to NGO-approved topics like AIDS or female genital mutilation, which can perpetuate stereotypical images of Africa. Her struggle to tell an authentic, personal story mirrors Stewart's fight against content deemed "unpalatable" by industry gatekeepers.

Forging a Path Forward

Despite the hurdles, Kenyan women in film have demonstrated remarkable resilience and entrepreneurial spirit. Figures like Judy Kibinge, who not only directs but also runs the film fund Docubox, exemplify a holistic approach to building a sustainable career and uplifting others. Initiatives like the Women in Film Awards (WIFA) provide a crucial platform for recognition, networking, and encouraging women to shape Kenya's cultural narrative through their own eyes. The government, through the Kenya Film Commission, has also affirmed its commitment to promoting women in the industry.

The rise of streaming platforms has further empowered creators by offering alternative distribution channels that bypass traditional gatekeepers. This aligns with Stewart’s closing call to action for women to reject tokenism and instead "start printing our own currency." From Hollywood to Nairobi, her words serve as a rallying cry for female storytellers to seize control of their narratives, challenge restrictive norms, and build supportive networks to ensure their voices are not silenced. As Stewart told the room in Los Angeles, "Those of us who have been lucky enough to make a movie have a responsibility to those who are yet to come."