Rising filmmaker Mboowa Swadiqu calls for sweeping copyright reforms to shield Uganda’s nascent film industry

Ugandan independent cinema may be entering its most pivotal moment yet. At just 21, award‑winning director Mboowa Swadiqu used a press conference in Kampala on Tuesday to demand urgent changes to the country’s copyright framework, warning that the current law leaves filmmakers vulnerable to theft, piracy and costly legal battles.

“I know filmmakers who’ve seen their content stolen or distributed without permission,” Swadiqu told reporters. “The law mostly benefits musicians, but film is just as vulnerable, if not more.”

Swadiqu, whose short‑film “Echoes of the Rift” won Best Narrative at the 2024 Africa Film Festival, said the loopholes in Uganda’s Copyright and Neighbouring Rights Act of 2006 are hampering the growth of a sector the government touts as a future driver of cultural and economic development.

Weak enforcement, costly registration

The 2006 act technically protects “artistic and audiovisual works,” yet the director says enforcement is “sporadic at best,” and the registration process remains a barrier for young creators.

“Most of us can’t afford legal battles or lengthy procedures. Even registering a film used to be frustrating,” Swadiqu explained. “We end up self‑censoring or releasing work anonymously just to avoid exploitation.”

A 2023 survey by the Uganda Film Association (UFA) found that 68 % of its 147 members had experienced some form of unauthorized distribution, and 44 % said they had abandoned a project because of copyright concerns.

A modest step forward

In late November, the Uganda Registration Services Bureau (URSB) announced it would no longer require copyright applications to be published in the government gazette—a move intended to cut registration fees by roughly 30 % and speed up processing times.

URSB spokesperson Grace Nanyondo urged creators to take advantage of the change. “Copyright is foundational to Uganda’s creative economy,” she said. “The new procedure reduces bureaucracy and makes protection more accessible.”

Despite the adjustment, Swadiqu and fellow filmmakers argue it is a Band‑Aid on a deeper wound.

“You can’t have a vibrant film industry when creators fear releasing their work,” Swadiqu asserted. “People talk about promoting Ugandan content, but where’s the protection to back that up?”

Government response

Justice Minister Norbert Mao, present at the same event, acknowledged the sector’s grievances. “The creative sector is evolving, and our laws must evolve with it,” he said. “Artists deserve legal protection equal to the value of their contributions.”

Mao confirmed that his ministry is drafting amendments to the 2006 act, with a focus on:

• Expedited registration for audiovisual works, including an online portal slated for launch Q2 2026.
• Stronger civil remedies, allowing filmmakers to claim damages without the need for criminal prosecution.
• Dedicated enforcement unit within the Intellectual Property Office to investigate piracy and illicit distribution.

The minister promised a white‑paper on the proposed changes by March 2026 and pledged a public consultation with industry stakeholders, including UFA, the Uganda Film Commission, and independent filmmakers.

Industry reaction

The Uganda Film Association issued a joint statement applauding the URSB’s recent tweak but urging faster legislative action. “We need a comprehensive framework that addresses not only registration but also enforcement, digital rights management, and fair remuneration for streaming platforms,” the statement read.

International observers note that Uganda’s current copyright model lags behind regional peers. Kenya’s 2022 amendment introduced specific provisions for “cinematic works” and established a fast‑track tribunal for IP disputes, a model Swadiqu suggested Uganda could emulate.

Looking ahead

For Swadiqu, the fight is personal as well as professional. His upcoming feature, “Silence of the Baobab,” is slated for a 2026 release and is already in post‑production. He hopes the reforms will allow the film—and future Ugandan stories—to reach audiences without fear of illegal duplication.

“When creators feel safe, they create more, and the whole nation benefits,” he said. “We’re ready to tell our stories; we just need the law to back us up.”

As Uganda’s creative economy strives for a place on the global stage, the push for stronger copyright protection may prove to be the catalyst the film sector needs to flourish. The next legislative session, scheduled for early 2026, will be closely watched by a generation of filmmakers eager to see their work—and their rights—secured.