Draft:Some Fine Day Pix gGmbH

Some Fine Day Pix gGmbH is a German-based non-governmental organization (NGO) and film production company dedicated to empowering and supporting filmmakers, particularly in East Africa. The company offers Masterclass filmmaking education and facilitates connections between emerging talent and established filmmakers across the globe. Building on a legacy of international cooperation in the film industry, Some Fine Day Pix provides comprehensive training and financial support to East African filmmakers through both digital platforms and on-site programs in Kenya.

History and Background

Some Fine Day Pix gGmbH was founded to extend the success of the joint training initiative for African filmmakers, originally created by ONE FINE DAY Films , Ginger Ink. Africa , and DW Akademie, which ran from 2008 to 2020. This initiative played a critical role in fostering a new generation of filmmakers on the African continent, with a focus on providing education, mentorship, and production opportunities. Some Fine Day Pix continues this legacy by expanding its reach and enhancing its educational offerings.

Programs and Training

Some Fine Day Pix offers an extensive range of programs designed to support filmmakers at various stages of their careers. The organization’s unique approach combines independent story development, pitching, and production support. Participants in the program are encouraged to take ownership of their creative visions while being guided through all aspects of filmmaking, from conception to execution.

In addition to hands-on training, Some Fine Day Pix supplements its curriculum with masterclasses and webinars that cover current industry trends, techniques, and business practices. This structure enables participants to stay engaged with their daily work while also expanding their knowledge in key areas of filmmaking.

Supported Productions

Between 2020 and 2023, Some Fine Day Pix has supported the production of six short films, showcasing the creative talents of East African filmmakers and giving them a platform to reach wider audiences.

Act of Love (2022):

After losing her job at a restaurant, Juliana downsizes to a one- roomed house in an informal neighborhood in Nairobi. Her luck turns when she is shortlisted as a finalist by a top accounting firm. On this day, the interview is at 11:00 am. The landlord, Mr. Mutisya, gives her a final notice to pay her rent areas the same morning. Her neighbor, Mama Mukami, who has promised to watch her 2-month baby, has a campaign engagement for the local politician. Sister Magdalene, despite being sympathetic to Juliana cannot allow her to leave the baby at the church due to a 'pandemic' of mothers abandoning their children in the compound. Undeterred, Juliana beats the clock and makes it for the interview, her fussy baby in her arms. Asequence of events triggered by her baby's cries make her lose her promising interview. Broken, frustrated, holding onto sanity a thread, she questions her love for her baby. Director: Eric Mwangi Writer: Shelly Gitonga Producer: Shirleen Wangari

Inheritance (2024):

Kavaa has travelled upcountry to bury her grandfather who disowned her when she was born out of wedlock 22 years earlier. At that awkward family reunion, Kavaa finds acceptance with the village madman, who catapults her into a liminal realm, where she can face-off with her grandfather and rise above his rejection to find new self-esteem. Director: Barbara Minishi Writer: Ngwatilo Mawiyoo Producer: Ivy Kiru

Mawimbi (2023):

It’s a tense reunion when Kazungu meets his father for the first Ume aXer 8 years, when he returns home for his mother’s funeral. When his father informs him that he will set out to catch a rare fish that was sighted by the local fishermen, Kazungu is indifferent, unUl he comes across an old photo of him and his father, 12 years earlier, a big catch at their feet. They look happy. He joins his father the next day and while at sea, the tension between them gives way to encounters that cause them to confront the reasons behind their strained relaUonship. Eventually, they encounter the rare fish they set out to hunt, but now with a greater awareness about what it represents for them and their relationship. Director: Mark Wambui Writer: Wanjohi Ian Producer: Ivy Kiru

Grogan´s Lodge (2023):

Grogan’s Lodge is about two young Kenyan girls, JOY and SUSAN, who travel to an up- country lodge in response to a job advert, to earn fees for college. The lodge appears to be deserted and derelict, but MRS. BIRD, the sinister housekeeper, assures them that there will be work. The girls are intrigued by the sepia photos that show the lodge in its heyday of hedonistic pursuits. That night Susan goes to explore and Mrs Bird gets her ready for what she calls “The Party”. The lodge, now mysteriously restored to magnificent condition, is filled with fancy guests and uniformed staff from the Colonial Era. Susan is drugged and is served up on a platter to the party guests. Joy comes to look for her friend, but she discovers that Susan has disappeared, and the lodge reverts back to its dilapidated state. A photograph, taken at the Lodge opening over a hundred years ago has now changed, and Susan is forever trapped in the photograph. Director: Isaya Evans Writer Shaleen Keshavjee Producer: Densu Moseti

Ndoto (2025):

For an asthmatic boy who recently moved to an island city from the up-country, Kisu's worst fear is drowning and so he always dreams of it. He wants to face his fear by learning how to swim. However, his overprotective Aunty is skeptical and won't allow him to mingle with the Swahili boys at the beach. Feeling left out and in need of a bit of freedom and new friendship, Kisu meets the 'Jimbo Boys', a group of skilled Swahili swimmers led by Bakuli. He defies his aunt and approaches them with the hope of joining the gang and learning how to swim. He is at first turned down, dejected. Kisu must prove his courage and loyalty to the gang before he is accepted. Bakuli tailors Kisu's initiation test; a planned heist at a local Candy shop. The mission sets Kisu on the adventure of a lifetime filled with friendship, betrayal, and self-discovery. Director: Omar Hamza Writer: Bill Afwani Producer: Margaret Wacera

Stero (2024):

Bruce Koech, a lone ranger with the heart of a warrior, accepts a mission from his imaginary Sensei - to be a badass hero. In school, Koech is forced to wear the disk - an ugly bone aXer speaking Kiswahili contrary to the school’s language policy. The rest of the day becomes a long, walk of shame for Koech. He faces ridicule with every corner he turns. Sensei pushes him to remove the disk and protect his honor. At the height of his humiliaUon, Koech removes the disk, landing into trouble with the Headmaster. At the Headmaster's office, Koech is caned. He musters all his strength to endure the pain and protect his honor but falls short - the pain is too much. He yields to the pain and wears the disk. He leaves the office one step shy of becoming a badass hero. Director: Tevin Kimathi & Millan Tarus Writer: Millan Tarus Producer: Juliana Kabua

Vision and Impact

Some Fine Day Pix aims to create an inclusive and diverse global film landscape, where stories from all parts of the world are told and celebrated. By offering world-class education, financial support, and international networking opportunities, the company plays a key role in shaping the next generation of filmmakers in East Africa and beyond.

Legacy and Future Outlook

As a continuation of the successful partnership between ONE FINE DAY Films, Ginger Ink. Africa, and DW Akademie, Some Fine Day Pix is dedicated to evolving the original mission of the African Filmmakers training initiative. The company seeks to expand its programming, offer more opportunities for filmmakers, and continue its role as a facilitator of cross-cultural storytelling and creative exchange.