Khanysile Zondi is all about putting African cinema in the spotlight. As the co-founder of Sinema Agency, alongside her business partner Lebohang Ntoele, she’s on a mission to promote African film projects through smart campaigns and strategic publicity.
With a background that covers everything from documentary filmmaking and film distribution to digital marketing, brand strategy, and MediaTech, Khanyi brings a wealth of experience to the table.
She’s passionate about making African stories heard worldwide and has the credentials to back it up—she’s an alumna of the Southern Africa-Locarno Industry Academy and the Durban FilmMart Business Lab. She also holds a PGCert in Marketing from the University of Cape Town and a BF&TV from Manchester Metropolitan University.
We caught up with the film marketer to chat about Sinema Agency and her impact on African cinema.
What inspired you to start Sinema Agency, and how has it evolved since its inception?
Khanyi Zondi: Sinema was born out of my passion for African cinema and the realization that many incredible films from the continent struggle to reach their ideal audiences. I wanted to bridge that gap by offering strategic marketing and publicity tailored to the unique stories African filmmakers tell.
Since its inception, Sinema has grown into a team of creative black women who share this vision. We've expanded our services to include distribution planning and impact campaigns, and our reach now spans both South Africa and Nigeria.
How does your background in documentary filmmaking influence your approach to film marketing and publicity?
Khanyi Zondi: In documentary filmmaking, the audience should never be an afterthought. Too often, we fall into the trap of deciding for them—dictating what films and programs we think are "good" for them—without ever truly considering their needs, desires, or perspectives. It's frustrating, isn't it? Because at the heart of every great documentary lies a simple, crucial question: Why does this story matter?
Every film I work on starts with that very question. Is this story needed in society right now? How will it impact its audience? These considerations guide every decision, from the narrative to the outreach.
What specific challenges do African indie filmmakers face, and how does Sinema Agency address them?
Khanyi Zondi: Absolutely, these are some of the most pressing challenges filmmakers face. Securing funding is a significant hurdle, many filmmakers struggle to access the financial resources they need to produce high-quality content.
Additionally, there’s a bias in the market where film festivals and international distributors often overlook African stories, which limits their global exposure. On top of that, with limited marketing budgets, promoting these films effectively can feel impossible without the right expertise.
At Sinema, we’ve designed our services to tackle these challenges head-on. For funding, we work closely with filmmakers to develop compelling pitches and proposals that resonate with potential investors, grants, and sponsors. On the distribution side, we craft tailored strategies, helping projects find the right platforms, whether that’s through festival submissions, securing global screenings, or connecting them with the right brand partnerships to extend their reach.
Can you share an example of a strategic campaign that successfully elevated an African film?
Khanyi Zondi: That’s a tough one because every project we work on holds a special place for us. We genuinely pour everything into each campaign, and it’s rewarding to see these films thrive in their unique ways.
One standout campaign was for an indie documentary, Ulwandle Lushile: Meeting the Tides(2021) by marine scientist Tembisa Jordaan and the Sokhulu women who are reviving the tradition of sustainably harvesting mussels and passing this knowledge to the next generation.
The documentary explores how, after apartheid, ocean ecologists worked with these women to relearn practices rooted in their cultural heritage. The film traveled the international festival circuit, earned awards but what we’re most proud of is the impact campaign we curated for the community of KwaSokhulu, where the story originates.
It wasn’t just about global recognition, it was about ensuring the film resonated locally. We hosted community screenings and conversations with the filmmakers to leave a lasting legacy of awareness and empowerment.
Another standout was Devil’s Peak (2023), a gripping thriller/crime film. This campaign reignited my passion for PR because it was an exciting challenge. For Shaka iLembe Season 1, we spearheaded a comprehensive engagement strategy that targeted both urban and rural audiences, combining grassroots activations with larger-scale outreach in KZN.
We’ve also been fortunate to work on projects right from the development stage, helping films secure funding through strategic planning. It’s incredible to see how our work has enabled these films to flourish, both in terms of exposure and impact, without giving away too many client details! 😊
How do you balance creativity with strategy when designing campaigns for filmmakers?
Khanyi Zondi: In film marketing, we work with the 4 P’s: Product (the film), Place (distribution), People (audiences), and Promotion (the strategy we execute). Creativity is at the heart of everything we do, but it’s always anchored by a clear and purposeful strategy.
It’s a balance of art and strategy. Creativity ensures the campaign stands out, while strategy ensures it delivers results. Every decision, whether it’s about choosing distribution channels, planning grassroots activations, or executing social media campaigns, stems from a thorough understanding of the audience and a clear path toward achieving the filmmaker’s objectives.
What role does storytelling play in your film marketing strategies?
Khanyi Zondi: Storytelling plays a huge role in our film marketing strategies, it’s the foundation for everything we do. Whether the film itself is extraordinary or the storytelling could use some polishing, the way we put together and communicate the narrative can make or break a campaign.
I’ve seen films that didn’t hit the mark storytelling-wise receive endless marketing, while others with incredible narratives fell flat because the strategy didn’t amplify their strengths.
For me, storytelling is essential in developing the key messages for a campaign. I’m the kind of marketer who will ask for your script upfront because understanding the heart of the story allows us to position the film in a way that resonates with audiences.
For example, we’ve worked on campaigns for book adaptations, where a lot of the inspiration for our marketing strategy came from the book rather than the film itself. A great marketing campaign doesn’t just sell the film, it invites the audience into the story.
How has your education in Marketing and Film & Television contributed to your work at Sinema Agency?
Khanyi Zondi: Honestly, while my education in Marketing and Film & Television provided a solid foundation, the real learning has come from building Sinema from the ground up. Theory is one thing, but there’s no substitute for the hands-on experience of running and growing a business.
I’ve never worked at an agency before, so everything I’ve built has been through trial, error, and persistence. Bootstrapping as I go has taught me more than any classroom could, about resilience, adaptability, and the nuances of the film industry. Each project and campaign has been a learning curve, and I’ve had to figure out how to balance creative vision with strategic execution in real time.
That said, my education helped me understand the basics, from storytelling principles to marketing frameworks. But building Sinema has been the ultimate classroom, and every success and setback has added to my knowledge and shaped how I approach this work.
What trends in media tech do you find most exciting for the future of African cinema?
Khanyi Zondi: There’s so much exciting innovation happening in media tech right now, especially when it comes to its potential for African cinema. One trend I’m particularly passionate about is the development of distribution platforms tailored to our unique market. It’s inspiring to see others in the industry creating solutions too.
I know a few industry peers who are building media tech platforms with different focuses—one centered on film financing and another on film journalism. These initiatives are game-changing because they address key gaps in the ecosystem, whether it’s funding, visibility, or accessibility.
I’m super excited to be part of this new innovation. Media tech has the power to democratize access and create more opportunities for African stories to thrive.
What advice would you give to indie filmmakers looking to find an audience for their films?
Khanyi Zondi: First and foremost, know your audience, these are your biggest customers. Understand who they are, where they hang out, and what resonates with them. Start thinking about distribution and marketing early on in the production process, not after the film is finished. Too often, filmmakers focus solely on the creative side, but you need a plan to get your film in front of the right eyes.
Also, be authentic in telling your story. Audiences connect with honesty, and they can tell when something feels real or when it’s trying too hard to fit into a mold. Originality goes a long way—don’t be afraid to show your true voice.
Finally, be a student of cinema. Watch the credits to the very end and understand who was part of that project, whether it’s the producers, the distribution team, or the marketing strategists. Analyze how films were distributed, the roadmap they followed, and the strategies that helped them succeed. Learn from others who’ve done it well and apply those insights to your own journey. The more you learn, the more equipped you’ll be to navigate the industry.
Another big piece of advice is to build a network. Your friends aren’t just the people you hang out with, they’re also the ones who will help you in your career. Get close with editors, film programmers, designers, and even accountants, lawyers, and brand managers.
These people will help you directly and indirectly build your projects and, in turn, your career. It’s not just about the film, it’s about the people who can help you get it out there and support your journey along the way. A strong network of people who understand and support your work can make a huge difference.
What is your process for identifying the unique selling points of a film and translating those into effective publicity?
Khanyi Zondi: Our process begins by understanding the filmmaker’s intent and understanding the story’s nuances. We look beyond just the plot and explore what makes the film truly special, whether it's the themes, the visuals, the performances, or a unique cultural perspective. Identifying these distinctive elements allows us to pinpoint the film’s unique selling points.
Once we’ve got that clarity, we develop a strategic plan to amplify these aspects through targeted messaging, creative materials, and partnerships. For instance, if the film’s cinematography is visually stunning, we’ll focus on that in our promotional materials. If the story is culturally rich, we may align with brand partners or media outlets that resonate with those values.
It’s even easier if we’re involved in the project early on. Being part of the journey from development means we have a deeper understanding of the film and its unique qualities, which makes the entire publicity process smoother and more authentic.
How do you stay connected to the African film community, and why is this important to your work?
Khanyi Zondi: I’ve always believed in creating my own community, so here in Durban, I host filmmakers gatherings where filmmakers, industry professionals, and creatives can connect and share ideas. These informal meetups are crucial for fostering relationships and staying close to the pulse of the local scene.
Beyond that, I stay connected by actively participating in film festivals, programming events, and attending industry forums. I'm also involved in several industry bodies both in South Africa and internationally.
Networking with other professionals and filmmakers helps me stay informed about the challenges and opportunities within the industry. It’s vital to understand what's happening on the ground, what’s working, what’s not, and what’s coming next.
These relationships are not just about staying informed; they’re the foundation of the work we do at Sinema. Collaboration and community are essential to advancing African cinema, and many of the projects we receive come through word of mouth. When you’re connected to the community, you’re not just part of the conversation, you’re actively shaping it.
Can you describe the emotional or creative fulfillment you’ve found through helping filmmakers blaze their own trails?
Khanyi Zondi: There’s nothing more rewarding than seeing a filmmaker’s vision come to life and knowing that we played a part in connecting their story to the world. It’s deeply fulfilling to help them navigate challenges and witness their joy when their work is embraced by audiences.
What are your aspirations for Sinema Agency in the next five years, and how do you see it shaping the African film industry?
Khanyi Zondi: Yho! If we make it to the next five years, it’ll be by God's grace and sheer determination. Building a business in the film industry is tough but we trust the process, and I hope the process is trusting me back.
Looking ahead, my main aspiration for Sinema is to expand across Africa, particularly into West and Central Africa. I’ve seen some incredible projects coming out of those regions, and I think there’s so much potential for us to be part of that growth.
One of the things we’re working on is research around how African films are marketed and distributed, and I’m hopeful that we’ll contribute to shaping more effective strategies that truly connect African stories with global audiences. And, of course, I’d love to expand the team. Having more hands on deck will help us scale our efforts and deliver even more impactful campaigns.
Overall, I see Sinema playing a key role in not just promoting African films, but in actively shaping the way they are marketed, distributed, and celebrated both locally and internationally. It's about creating a sustainable, thriving ecosystem for African cinema.
