“We wanted to create a home for Rwandan auteur cinema – films that often travel internationally but are rarely seen locally”
– The CICAE alumnus chats to us about his ambitious venture of rebuilding Kigali’s oldest cinema and turning it into a new home for independent film
After taking part in CICAE Arthouse Cinema Training, Rwandan filmmaker Philbert Aimé Mbabazi Sharangabo embarked on an ambitious journey: reviving one of Kigali’s oldest cinemas and turning it into a new home for independent film. Today, Cine Mayaka is not only the country’s only operating arthouse cinema, but also a growing cultural hub. We spoke with him about the origins of the project, the role of international collaboration and the challenges of building an audience in Rwanda.
Arthouse Cinema Training is the leading international training programme for independent cinema professionals, offering a week-long residential course, with its 23rd edition taking place in Berlin from 24-30 August 2026.
Cineuropa: Can you briefly introduce yourself and your background?
Philbert Aimé Mbabazi Sharangabo: I am a filmmaker. Alongside my filmmaking work, I run Imitana Productions, a Kigali-based company that supports both my films and those of a new generation of Rwandan filmmakers. Through this, we took over Cine Mayaka, Kigali’s oldest cinema, which we are now restoring while already bringing it back to life with screenings and festivals.
How did the idea of creating an arthouse cinema in Kigali come about?
The idea came through our film festival, Kigali Cine Junction. We were looking for spaces that already had a connection with audiences, beyond the two mainstream cinemas in Kigali, which have both been closed for over a year.
We found three former cinemas in the Nyamirambo neighbourhood. Two had already been transformed: one into shops, the other into a church. The only one left was Cine Mayaka, which had been closed for four years. Initially, we just wanted to use it for the festival, but even minimal renovation costs were too high for short-term use. So, we decided to take it over for a longer period and turn it into a permanent space.
We wanted to create a home for Rwandan auteur cinema – films that often travel internationally but are rarely seen locally. Since 2023, we have been running the space, and hosting festivals, premieres and regular screenings. Today, we are the only operating cinema in Kigali, and the only independent one in the country.
What led you to join the CICAE Arthouse Cinema Training?
As filmmakers and cinephiles, we were naturally drawn to the idea of running a cinema, but we quickly realised we lacked experience in this field. We needed to better understand how to operate and sustain such a space.
How did the training influence the development of Cine Mayaka?
CICAE Arthouse Cinema Training helped us move from a very intuitive, passion-driven approach to something more structured. We started thinking more strategically about identity, team-building and long-term development.
It also led to concrete collaborations. After the training, we organised a study supported by Swiss Cooperation in Rwanda to define the future of Cine Mayaka. Jean-Marc Lalo, one of the mentors, worked with us on the architectural aspects of the renovation, while Christian Pfeil, from Unserkino, advised us on cinema management.
We are now using this study to guide our development and secure partnerships. We also received a DCP projector from Unserkino, with support from the Goethe-Institut for shipping, which has been a major step forward for us.
What role have international connections played in this process?
They have been essential. Independent cinemas are rare in our region, so there is a real risk of isolation. Being connected to an international network, including CICAE – the Confederation of Arthouse Cinemas – allows us to learn from others and exchange experiences.
For example, thanks to these connections, we have been able to train our projection team and start screening films in DCP format. These are important steps in improving the quality of what we offer. And this is just the beginning.
What have been the main challenges in rebuilding and running the cinema?
The first challenge was our lack of experience, as we had to learn everything from scratch, from programming to audience development. The state of the building was another major issue. We have done the essential work to make it operational, but there is still a lot to improve, especially in terms of seating and sound. Financial sustainability is also a constant challenge, especially since we do not own the venue. But we keep moving forwards, step by step.
How does the local audience respond to arthouse cinema?
The audience is quite diverse. There is a core group of cinephiles who are very open to discovery, but a large part of the audience is not used to arthouse cinema. Part of our mission is to build that culture. During Kigali Cine Junction, for example, we organise open-air screenings that attract hundreds of people. This helps us create trust and gradually introduce more challenging films.
We also use thematic programming to reach different audiences. Younger viewers, in particular, are more open to new cinematic experiences. It is a slow process, but we are starting to see progress.
What advice would you give to future participants in the Arthouse Cinema Training?
Passion is essential, but building a cinema also requires time, structure and a clear identity. The training is not just about learning; it is also about connecting with others. The relationships you build there can be very important in the long term. They can support you, inspire you and help you navigate what can sometimes be a very challenging journey.
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Find out more about CICAE Arthouse Cinema Training and apply by clicking here.
