ZAMBIAN FILMMAKER TAPSON SIBANDE MAKES HIS MARK IN HOLLYWOOD AS AI FILM EARNS OFFICIAL FESTIVAL SELECTION
NAMA President Morgan Mbulo congratulates the filmmaker and urges Zambia's creative industry to embrace artificial intelligence as a powerful tool for filmmaking, innovation and international competitiveness.
By Morgan MbuloPresident, National Association of Media Arts (NAMA)2 November 2026
Zambia's film industry has another reason to celebrate as one of our own filmmakers, Tapson Sibande, receives international recognition following the official selection of his film, HEROES NEVER DIE: ASHES OF TWO VOWS, for the 2026 African AI Film Festival in Los Angeles, California, United States of America.
According to the official selection notification shared with us, the film's judging status has been updated to Selected, confirming its inclusion in the festival.
This is an encouraging development for Zambia's growing film industry, particularly at a time when artificial intelligence is transforming how films are conceived, produced, edited and distributed.
On behalf of the National Association of Media Arts (NAMA), I wish to extend my heartfelt congratulations to Tapson Sibande and everyone who contributed to this production.
For me, this achievement represents more than international recognition for an individual filmmaker. It demonstrates that Zambian creatives are beginning to position themselves within one of the most significant technological developments affecting the global film industry.
I have spoken about artificial intelligence and its implications for filmmaking on several occasions, and I continue to believe that this technology presents enormous opportunities for our creative sector.
AI filmmaking is no longer something we should simply discuss as a possibility for the future. It is already here, and Zambian filmmakers must begin positioning themselves to benefit from it.
From Zambia to Los Angeles: A New Opportunity for Our Stories
The African AI Film Festival is an international platform dedicated to filmmakers of African heritage and those producing stories connected to African cultures, histories and experiences through artificial intelligence.
Its inaugural edition is scheduled to take place in Hollywood, Los Angeles, on 21 November 2026, followed by a screening in Kampala, Uganda, on 12 December 2026.
The festival celebrates innovation in AI filmmaking through categories covering short films, animation, documentaries and emerging filmmakers.
Its organisers emphasise storytelling, originality, technical quality and cultural authenticity alongside the creative use of artificial intelligence.
For Tapson Sibande's production to be selected for such a platform is an achievement worth recognising.
It places a Zambian creative work within an international conversation about the future of African storytelling and the technologies that will shape it.
We should celebrate this achievement while recognising that the official selection is an important stage in the festival process, with competitive awards still to be determined.
A New Generation of Filmmakers Is Emerging
For many years, the Zambian film industry has faced challenges relating to production financing, access to sophisticated equipment, visual effects infrastructure, distribution and international exposure.
We have talented writers, directors, cinematographers, editors, actors and producers who possess extraordinary ideas but often lack the financial resources required to translate those ideas into high quality productions.
A filmmaker may have an excellent script but struggle to raise the money required for locations, transport, accommodation, equipment, production design, costumes, visual effects and other expenses.
These challenges have sometimes prevented promising projects from moving beyond the development stage.
However, the emergence of artificial intelligence is beginning to change the possibilities available to independent filmmakers.
Today, a filmmaker can use AI tools to develop concepts, visualise scenes, create storyboards, generate certain visual elements, support postproduction and experiment with ideas that would previously have required substantial resources.
This does not mean that every film should be produced entirely through AI.
It means filmmakers now have additional creative tools that can complement traditional production methods.
And that is precisely why I believe our industry must pay attention.
Four Major Advantages of Embracing Artificial Intelligence in Film Production
1. Reducing Production Costs and Making Filmmaking More Accessible
One of the biggest challenges facing Zambia's film industry is the high cost of production.
Anyone who has produced a professional film understands how quickly expenses accumulate.
From equipment hire and transportation to accommodation, production design, special effects and postproduction, even a short film can require considerable financial investment.
Artificial intelligence offers opportunities to reduce some of these costs.
For example, AI can assist filmmakers with previsualisation, concept art, location planning, background generation and selected visual effects.
A filmmaker developing a historical production may use AI to visualise an ancient settlement before deciding how to build a practical set.
A science fiction filmmaker may use AI to generate elements of an environment that would otherwise require expensive physical construction or extensive computer generated imagery.
For independent producers operating with limited budgets, these capabilities can make ambitious concepts more achievable.
Of course, AI is not free. Subscription fees, computing resources, skilled operators, revisions and finishing work all have costs.
However, when used strategically, the technology can reduce particular production expenses and allow filmmakers to direct their limited resources towards the areas where they matter most.
My message to filmmakers is simple: do not allow the lack of a Hollywood budget to prevent you from exploring a strong creative idea. Learn how technology can help you develop that idea responsibly and professionally.
2. Increasing Productivity and Improving Production Workflows
The second major advantage is productivity.
Filmmaking involves numerous stages, including research, script development, storyboarding, scheduling, production, editing, sound design, visual effects, colour grading and distribution.
These processes can take considerable time, particularly when a production team is small.
Artificial intelligence can assist with repetitive or time consuming tasks and support more efficient workflows.
For example, AI tools can help organise research, develop preliminary shot lists, generate storyboard references, transcribe interviews, prepare subtitles and support certain editing and postproduction tasks.
For documentary filmmakers, the ability to search through large volumes of transcribed interviews can be particularly useful.
For editors, AI assisted tools can support object isolation, background removal, audio cleanup and selected visual effects operations.
For producers, AI can help prepare preliminary schedules, production breakdowns and planning documents that can subsequently be reviewed and refined by experienced professionals.
The result is not necessarily the elimination of production jobs.
Rather, it can be an opportunity for creative professionals to spend less time on repetitive technical processes and more time on storytelling, artistic decisions and quality control.
As a cinematographer, editor and filmmaker, I see considerable potential in combining these technologies with established production techniques.
The objective should not be to replace professional skill, but to increase what skilled professionals can accomplish.
3. Expanding Creative Possibilities Through Hybrid Filmmaking
The third advantage is the opportunity to combine traditional filmmaking with AI generated elements.
This is an area I strongly encourage Zambian filmmakers to explore.
There is sometimes a misconception that embracing AI means abandoning cameras, actors, lighting, production crews and conventional filmmaking.
That is not necessarily the case.
A filmmaker can shoot a production using real actors and practical locations, then incorporate AI assisted visual effects during postproduction.
For example, a historical drama could be filmed in an actual Zambian village while AI assisted techniques help extend the environment to represent a particular historical period.
A science fiction production could combine live action performances with digitally generated environments, vehicles or futuristic structures.
A documentary could use clearly identified AI reconstructions to illustrate historical events for which no archival footage exists.
An independent filmmaker could combine practical cinematography, traditional editing, compositing software and AI generated imagery to create a more ambitious visual presentation.
This is what makes hybrid filmmaking particularly exciting.
We are not being asked to abandon the professional techniques we have spent years learning.
Instead, we have an opportunity to expand our creative toolkit.
Our cinematographers must continue understanding lighting, framing, lenses and camera movement.
Our editors must continue understanding rhythm, continuity and storytelling.
Our directors must continue understanding performance, character development and visual language.
AI can support these disciplines, but it does not remove the need for artistic judgement.
A technically impressive image is not automatically a compelling film.
Technology can create images, but it still takes a storyteller to give those images meaning.
4. Opening International Markets and Creating New Opportunities for Zambian Talent
The fourth advantage is access to international opportunities.
Traditionally, filmmakers from smaller markets have faced significant barriers when attempting to compete internationally.
These barriers include limited production financing, expensive equipment, restricted access to specialised postproduction facilities and difficulties reaching global audiences.
AI filmmaking is creating new opportunities for filmmakers who can demonstrate originality, technical competence and strong storytelling.
Specialised festivals, digital distribution platforms, creative technology communities and international collaborations are beginning to recognise AI assisted and AI generated productions.
Tapson Sibande's official selection demonstrates the potential for Zambian filmmakers to participate in these emerging opportunities.
It also reminds us that we should not limit our ambitions to the local market.
Our stories can travel beyond Zambia.
Our cultural heritage, traditional narratives, historical experiences and contemporary social issues can connect with audiences across Africa and internationally.
However, reaching these markets requires more than simply learning how to generate images.
We must understand storytelling, production standards, copyright, distribution requirements, intellectual property protection and professional presentation.
We must also learn how to submit our productions to festivals, prepare promotional materials, communicate with distributors and build international professional networks.
Artificial intelligence may reduce some barriers to entry, but success will still depend on creativity, consistency, professionalism and the quality of the finished work.
Artificial Intelligence Must Complement, Not Undermine, Our Creative Industry
As much as I encourage filmmakers to embrace artificial intelligence, I also believe we must approach the technology responsibly.
There are legitimate concerns about the use of performers' likenesses, copyright ownership, synthetic voices, employment opportunities, authenticity and the potential misuse of generated content.
These issues cannot be ignored.
We must ensure that AI is used in ways that respect the rights of actors, writers, musicians, filmmakers and other creative professionals.
The use of another person's image, voice or performance should be based on appropriate consent and applicable legal requirements.
Filmmakers must also be transparent about the use of AI where disclosure is required, particularly when submitting work to festivals or presenting documentary material.
The African AI Film Festival itself requires filmmakers to disclose the tools used in their productions and places emphasis on consent, rights ownership and responsible creative practice.
These are important standards that our own industry should take seriously.
For me, the conversation should not be about choosing between traditional filmmaking and artificial intelligence.
It should be about understanding how both can work together to strengthen the quality, efficiency and competitiveness of our productions.
A Call to Zambian Filmmakers: Do Not Be Left Behind
I want to use this opportunity to encourage our filmmakers, production houses, film schools, editors, cinematographers, animators and other creative professionals to begin exploring AI technologies.
We must develop a culture of continuous learning.
The media landscape is changing rapidly, and the skills that were sufficient several years ago may no longer be enough to remain competitive in today's production environment.
This does not mean that experienced filmmakers must abandon everything they have learned.
In fact, those with strong foundations in cinematography, directing, editing, lighting, sound and storytelling may be particularly well positioned to use AI effectively.
They already understand what makes an image cinematic, what makes a scene believable and what makes a story emotionally engaging.
AI becomes another tool through which they can apply that knowledge.
I would therefore encourage production companies to begin experimenting with AI assisted workflows.
Film schools should consider introducing practical training in responsible AI filmmaking, generative visual effects, AI assisted editing and emerging production technologies.
Professional associations should organise workshops, demonstrations and discussions that help members understand both the opportunities and limitations of these tools.
And individual filmmakers should begin learning through small, manageable projects.
You do not need to begin with a feature film.
Start with a short scene, a concept trailer, an experimental documentary sequence or a simple visual effects exercise.
Learn how to write effective prompts, maintain character and visual consistency, combine AI imagery with live footage and complete a professional editing workflow.
Most importantly, continue improving your storytelling.
The filmmakers who will benefit most from AI are not necessarily those who generate the greatest number of images, but those who understand how to use the technology to communicate meaningful stories.
Zambia's Film Industry Must Prepare for the Future
This achievement also comes at an important time for Zambia's creative industry, following the establishment of a dedicated Ministry of Culture and Arts.
As we engage the new ministry on the development of the sector, I believe emerging technologies must form part of our discussions.
Our advocacy for a Zambia Film Commission, sustainable film financing, improved production infrastructure and professional capacity building should also consider how artificial intelligence is changing production methods and international markets.
We need training programmes that prepare young filmmakers for the technologies now being used in global production environments.
We need opportunities for established professionals to upgrade their skills.
We need informed discussions about intellectual property, ethical AI use and the protection of creative professionals.
And we need to encourage innovation without compromising the cultural authenticity and artistic identity of our productions.
The future of Zambia's film industry will not be determined by technology alone.
It will depend on how effectively we combine talent, policy, education, investment, professional standards and technological innovation.
Congratulations, Tapson Sibande
As President of the National Association of Media Arts, I wish to once again congratulate Tapson Sibande on the official selection of HEROES NEVER DIE: ASHES OF TWO VOWS for the African AI Film Festival 2026.
This achievement deserves recognition because it demonstrates the willingness of a Zambian filmmaker to explore an emerging area of cinema and present his work to an international audience.
We celebrate the courage to innovate, the commitment to storytelling and the determination to take Zambian creative work beyond our borders.
We also look forward to learning more about the production process, the technologies used and the creative decisions behind the film.
Such experiences can provide valuable lessons for other filmmakers who are interested in entering this developing field.
To Tapson and the team behind the production, congratulations on this milestone. We wish you success as the festival approaches.
The Future of Filmmaking Is Already Here
I have consistently maintained that artificial intelligence is becoming an important part of the creative production environment.
We can choose to observe these developments from a distance, or we can begin acquiring the skills necessary to participate meaningfully.
My encouragement to Zambia's creative community is to embrace innovation while preserving the professional standards and artistic values that define good filmmaking.
Let us use AI to improve productivity, explore new visual possibilities, manage production costs and expand our opportunities in international markets.
Let us also ensure that the technology serves our stories rather than allowing technology alone to determine what stories we tell.
We have extraordinary talent in Zambia.
We have compelling stories, rich cultural traditions, skilled creative professionals and a growing generation of ambitious filmmakers.
What we need is the willingness to adapt, collaborate, learn and take advantage of the opportunities emerging around us.
Tapson Sibande's international festival selection is a reminder that Zambian filmmakers have a place in the evolving world of AI cinema.
Let us celebrate this achievement, learn from it and encourage more Zambian filmmakers to explore the possibilities.
The future of filmmaking is not waiting for us. It is already unfolding, and Zambia must be part of it.
Morgan MbuloPresidentNational Association of Media Arts (NAMA)Zambia
2 November 2026
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