Uganda’s film industry could soon play a central role in marketing the country internationally, as tourism officials and filmmakers push for stronger collaboration between storytelling and destination branding.
Speaking during a recent industry discussion on film and tourism, Uganda Tourism Board (UTB) official Francis Nyende described film as one of the most effective tools for selling a country’s image to the world.
“One of our most strategic pillars is to make sure we sell the Ugandan story or the Ugandan brand through emotional storytelling,” Nyende said. “And I can’t think of a better way than doing that through film.”
His remarks come amid growing conversations within Uganda’s creative sector about how local films can systematically be used to promote tourism, culture and investment opportunities internationally.
Globally, films and television productions have become powerful tourism drivers, influencing how audiences perceive destinations and inspiring millions to travel. Countries such as New Zealand, through The Lord of the Rings, and the United Kingdom through Bridgerton, have experienced significant tourism interest linked directly to screen productions.
Nyende argued that Uganda has the same potential.
“Film is literally the best destination marketing tool,” he said. “I could pay for 30-second ads all year round, but one good film could literally change the story of a destination.”
Uganda’s diverse scenery — from mountain ranges and national parks to cultural heritage sites and bustling urban centres — offers what industry players describe as untapped cinematic value. Yet despite the country’s tourism appeal, the film and tourism sectors have largely operated independently.
“Destination marketing and film have been treated separately,” Nyende acknowledged. “Maybe it is not just a Ugandan problem. It is probably a global issue. But if we are not intentional, then we are definitely not going to have those two sectors working together.”
He pointed to internationally recognised productions that have indirectly marketed destinations through storytelling.
“What comes to mind when you think about The Lion King?” he asked. “Kenya. The movie has really done the job for Kenya.”
Industry stakeholders believe Uganda can achieve similar visibility by producing films rooted in local stories, landscapes and cultures.
Nyende noted that Uganda’s challenge is not necessarily a lack of stories, but rather limited international reach and distribution.
“Specifically for us as UTB, especially in our core international markets, we always look out for reach,” he said. “That is something we have not yet achieved with our local content, especially in terms of distribution, not just locally but also internationally.”
The discussion also highlighted structural gaps within Uganda’s film industry, particularly financing and policy support.
Earlier in the panel discussion, government representatives acknowledged that Uganda still lacks clear financing streams and incentives that can attract large-scale international productions.
Nyende believes partnerships between government institutions and filmmakers could begin addressing those gaps through incentives, collaboration and co-creation.
“There are many incentives we can extend to the film industry,” he said. “We happen to have access to all the unique backdrops that you could have in your films across Uganda.”
He added that tourism agencies could support filmmakers through location access, logistical coordination and strategic partnerships aimed at showcasing Uganda positively on screen.
“If it is film for the benefit of destination marketing, we want to be sure you are also putting our best foot forward,” Nyende explained.
Beyond logistical support, UTB is also considering frameworks that could allow tourism agencies to actively support productions aligned with destination branding goals.
“We can also actively co-invest from a point of co-creation, probably co-scripting these stories and making sure they are chasing the agenda of destination marketing,” he said.
The proposal reflects a growing recognition that storytelling may be more persuasive than traditional advertising campaigns in shaping global perceptions about Uganda.
Across Africa, countries are increasingly turning to film to shape national identity and tourism appeal. Nigeria’s Nollywood, for example, has evolved into a global cultural export while simultaneously promoting Nigerian culture, fashion, music and destinations.
Tourism experts say Uganda now has an opportunity to position itself similarly by investing in stories that resonate internationally while remaining authentically Ugandan.
For Nyende, the future lies in building deliberate partnerships between tourism and film stakeholders instead of operating in isolation.
“What we have been missing most is that strategic partnership,” he said. “But seeing what film has done for some destinations, I think it is important for us to have some form of framework.”
As streaming platforms continue creating global demand for African stories, filmmakers and tourism officials believe Uganda stands at a critical moment where cinema could become more than entertainment — transforming into one of the country’s most influential tools for global marketing and tourism growth.