The cinema industry in Uganda has never really taken off in the same way that it has in other African nations like Nigeria. There are only a handful of cinemas in the country, all of which are found in Kampala, and these have limited screens between them.
Instead of cinemas, the country has relied on video halls known as bibandas up to now, and there are thousands of these. Smartphone usage is now spreading across Uganda, though, and there’s an argument for leaning into mobile-first creation rather than trying to expand the cinema industry.
Ugandan Market Driven by Mobile Consumption
The reason why filmmakers and production companies should consider skipping cinemas in Uganda entirely now is the fact that mobile has taken the country by storm. It’s estimated that over 43 percent of Ugandans now own a smartphone, and this number is steadily growing. Internet availability is still low at around 50 percent, however, meaning that there’s a lot of potential for growth.
Those who do have smartphones and access to the internet are mainly 34 years old and below, and entertainment is one of the primary uses of these devices. YouTube is hugely popular in the country, with music videos and short-form content reigning supreme. There’s also a growing interest in casino games, with Ugandan online casinos emerging: the industry grossed UGX 8 trillion in 2024/2025. These platforms offer games geared towards African audiences, with Safari Rumble a prime example.
Because mobile is becoming the number one go-to option for entertainment, it makes sense to release Ugandan films directly onto this medium. Indeed, these devices could be set to replace bibandas, as they give users more choice in what they can watch.
Reinventing How People Watch and Handing Power to Creators
Uganda has the chance to align itself with global trends now, where on-demand content is seen as the future. In other countries, the cinema industry has been detrimentally affected by the rise of streaming platforms, with companies having to work harder to pull people back in. That suggests that it may be a waste of time and resources to try to build up the Ugandan cinema market, and it would be better to skip this and go straight to mobile.
This modern approach is better for filmmakers and means that they have much more power when it comes to distribution. It’s much easier to get content out on YouTube than it is to secure cinema screenings, and the platform instantly gives them access to a much wider audience as well. This can also enable experimentation with different formats, such as shorter films or movies with episodic releases. There’s even the chance that these films could get clipped up and lead to viral moments that spread across social media and promote them further.
If Ugandan film is to start getting wider attention in the country and globally, making movies with mobile in mind is key. With a low barrier to entry in this format, there could soon be an increase in Ugandan filmmakers whose content appeals to a global audience.
