While on a Canadian set, shooting a virtual short, Charles Uwagbai was approached to direct the now NAACP-nominated film ‘The Wall Street Boy: Kipkemboi’. The story of ‘Kipkemboi’ is void of the stereotypes that plague Africa and is the major reason Uwagbai was glad to lead the production.
The film follows Kipkemboi, a mathwhiz living in rural Kenya, who creates an algorithm that trades and disrupts the stock market, landing him on the police wanted list and earning him the admiration of others. The movie is a blend of traditional knowledge and modern technology.
‘Kipkemboi’ presents Africa as a potential hub for innovation and brilliance, a stark contrast to the doomsday tale that is often splattered on screen as regards the continent. Uwagbai asserts that it is one of the reasons audiences from all over were drawn to the film.
Although the film challenges archaic stereotypes, it also explores universal themes like resilience. A theme with which almost every breathing human is familiar, a theme that we have had to apply to our lives to roll out of bed the next day and the day after. Kipkemboi embodies resilience; he is able to withstand and even recover from difficulties quickly; he is like a springboard. And this makes him a lovable character.
It is not hard to root for Kipkemboi throughout the film because he represents hope. And his symbolism is one that the working class—more than half of the world’s population—can relate to.
Toiling every day and hoping that one day something clicks that shifts the trajectory of your life—it is this story of the underdog triumphing against all odds that really captivated people.
Shot in Kenya and Canada, the director accorded his understanding of the Kenyan story to his time in Kenya shooting the Kenyan-Nigerian film ‘Brother Jekwu’ a decade ago. The film starred Mike Ezuruonye and Juliet Ochieng.
Since then, he has had stints in Kenya. However, ‘Kipkemboi’ required him to dig deeper into the cultural landscape of Kenya to ensure acute representation of the people. “We also collaborated with local talent and cultural advisors to ensure the story stayed authentic to the Kenyan society,” he notes.
The director’s dedication to learning the cultures and traditions of the Kenyan people shows his commitment to avoiding the path the western world took/takes in portraying the continent.
It is one thing for an outsider to lack an understanding of your home and approach your story in a tactless manner but it is a more difficult thing to bear when it is done by your own.
Though a Kenyan-Canadian collaboration, ‘Kipkemboi’ has a certain pan-African feel due to Charles Uwagbai’s Nigerian roots. Even Thamela Mpulwana who gives life to Kipkemboi, has the blood of African states—Tanzania and South Africa—flowing through his veins. This collective effort sparks the conversation about the place of interstate collaboration within Africa in achieving global recognition.
According to the 2021 UNESCO report on the film industry in Africa, the body noted that the industry remains “historically and structurally underfunded, underdeveloped, and undervalued.” This validates the necessity for interstate collaborations.
Uwagbai cites that by working together, we can pool resources—talent and expertise—to tell stories that are a reflection of who we are. Stories that do not homogenise us but highlight our diversity.
Beyond pooling resources, he believes there is so much more to be done. “Industries across Africa can foster these collaborations by establishing co-production treaties and investing in shared platforms,” he suggests. He also hammers on the need for pan-African networks that connect filmmakers and resources across borders. Not only should they exist, they must be promoted.
‘The Wall Street Boy: Kipkemboi’ exists as the ripened fruit of pan-African collaboration. “Collaboration is key,” he says. Uwagbai also opines that this strategy, if applied especially by Nigerian filmmakers, could secure us recognition from the Academies like Oscars, Emmys, and Golden Globes.
Charles Uwagbai’s ‘Kipkemboi’ joins C.J. Obasi’s ‘Mami Wata’ in the NAACP International Motion Picture category hall of fame. “To be a part of this legacy is truly an honour. It reflects the growing impact of Nigerian filmmakers in global cinema and highlights the significance of our contributions. This nomination reinforces that our voices matter, our stories resonate, and we belong on the world stage,” he speaks about the nomination.
The nomination is also a validation of the work Uwagbai has put in since his directorial debut, ‘Okoro the Prince’ in 2013. When asked his plans for a hypothetical win, he replies, “I would celebrate by acknowledging the incredible team behind the project and using the moment to inspire other African filmmakers to aim higher. It would also be an opportunity to highlight the importance of collaboration and innovation in our industry.”
The NAACP Image Awards is scheduled for the 22nd of February 2025. Uwagbai will be attending with other Nigerians, including artistes Tems and Wizkid, who are making their mark on the international stage.