See a community represent itself onscreen simply because it must, the only way it knows how, with no regard for your ideas of narrative or aesthetic convention. Enter a world where you can learn to be a Commando from a little kid in pink crocs named Wesley Snipes. Supa Action. Wakaliwood Forever.

The only movie ever made.

When I look back on my life in the future, I will divide it into two periods: Before I watched Bad Black and after I watched Bad Black. And I will only want to talk about the after.

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Wakaliwood is the new punk rock. Lo-fi, DIY, snotty in a charming, playful way, weirdly threatening to establishment entities (Wakaliwood muzungu ambassador Alan Ssali Hofmannis has said many film festivals rejected previous Nabwana productions because "Ugandans shouldn't be making action movies... Africans should be concerned about the images of themselves they're putting out in the world", this kind of finger wagging nonsense. We're colonizing taste now apparently? What a world.) even though beneath the violent, caustic surface it's clearly just charming playtime dress-up fantasy with a layer of self-effacing hilarity from a video joker. Love of action.

"This doctor needs borders."

UGANDAAAAAAAAAAAAAA!

"Schwarzenegger, Van Damme, Stallone, Bill Murray."

this is like if tony scott & michael bay got together to remake goodfellas and rocky IV as one film except it's also about class warfare in uganda and there's lots of martial arts and car crashes and doctors firing machine guns and godzilla punching out prison guards.

once a commando, always a commando

“Stallone should fight a crocodile. I’d pay to see that.“

“This doctor needs borders.”

An improvement in just about every way on Captain Alex: better story, better acting, better camera work, which in turn better shows off the actual fighting skills of the performers, and better jokes, with VJ Emmie giving an award worthy performance.

Ugandan Wesley Snipes > American Wesley Snipes

There's nothing quite like the films of Nabwana: Mayhem distilled into its most bonkers components, both a parody and homage to American action flix. And it hurtles with breakneck absurdity, camp humor and outrageous no-fi SFX. Central is VJ Emmie's meta-narration: wickedly caustic, roasting every scene with deadpan zingers. Yet behind this is something candidly honest, a spirit of place, funny, almost tender, the reality of life in the ghettos of Kampala. Sometimes it takes an outsider to tell it like it is.