IN a landmark year declared as Zimbabwe’s Year of Film, Mollen Chisveto, acting director of the International Images for Women Film Festival (IIFF), reflects on a truly memorable 22nd edition that ran across four dynamic venues recently.
Featuring 15 powerful films under the theme Women Make the World a Better Place, IIFF 2025 celebrated the resilience, leadership and agency of women through global stories that challenged patriarchal narratives.
From Hanami’s poetic exploration of a woman’s life stages to HOME’s intimate portrayal of self-discovery and body acceptance, the festival created space for emotional connection, cultural reflection and spirited conversations.
“The decision to open the festival with Hanami and close with HOME was influenced by the powerful storytelling in both films,” Chisveto said.
“Hanami tells the story of Nana’s journey through the three stages of her life while HOME depicts a young lady’s journey of self-discovery and body acceptance.
“Both films were chosen to show women's experience and resilience.”
Chisveto added that one of IIFF’s key priorities was making sure that film is not locked away in elite spaces and by hosting screenings at Alliance Française and the National Gallery, they reached the urban cultural audience, while at Dzivarasekwa Community Hall, film “allowed us to meet people in their own community, where cinema is rarely accessible”.
Nhaka Gallery, as a more intimate venue, created a space for reflection and conversation.
Each venue gave a different energy, but together, they meant that a wider cross-section of Zimbabweans could see themselves in these films. She said.
Strategic international collaborations with embassies of Japan, Ireland, Spain and Switzerland elevated the festival’s global relevance, while workshops by industry leaders emphasised that artistic excellence must walk hand-in-hand with business acumen.
By decentralising screenings and bringing cinema to community spaces, IIFF 2025 fulfilled the Year of Film’s promise to make film accessible, empowering and nation-defining.
“The Year of Film gave us both a sense of responsibility and opportunity,” Chisveto said.
“It meant the festival was not just about celebrating cinema, but about contributing to a national conversation on film as an industry and as a tool for change.
“It encouraged us to be more ambitious with our programming, and to position women not only as storytellers but also as leaders in shaping the country’s film culture.”
The workshops and masterclasses were a major highlight, featuring facilitators like Siobhán Cleary and Alba Bosch-Duran.
Cleary’s session reminded us of the power of feminist documentary practice, the importance of women telling their own stories, in their own voices and consciously shaping images that affirm rather than exploit women.
Bosch-Duran, on the other hand, brought an eye-opening perspective on the business of film.
She stressed that development and marketing are not afterthoughts, but central to building sustainable careers in cinema.
The masterclasses showed our filmmakers that artistry and business must go hand-in-hand if we are to thrive.
Chisveto advised filmmakers to work within available means and learn to collaborate.
“Your stories matter. Don’t wait for permission to tell them. The industry will try to make you doubt your voice or limit your ambition, but festivals like IIFF exist to prove that there is space for you.
“Whether you’re behind the camera, running a production company or shaping policy, step forward.
“The world is waiting for your perspective and Africa is stronger when you take your place.”