Behind the curtain at SHUNAFFoZ: a volunteer on festival operations

Volunteers form the invisible backbone of most international film festivals, and the Shungu Namutitima International Film Festival of Zambia is no exception. Each year, a small army of cinephiles, students, and industry newcomers arrives in Lusaka to keep screenings on schedule and filmmakers feeling welcome.

For readers in Australia curious about festival cultures abroad, this conversation with one SHUNAFFoZ volunteer reveals how the event runs beneath the red-carpet glamour. Parallels with homegrown events such as Flickerfest in Sydney or the Melbourne International Film Festival make the story especially resonant.

From local cinema buff to Zambian volunteer

The volunteer, whose name is kept brief for privacy, first encountered SHUNAFFoZ through a documentary that screened at a community hall in Perth. That film led them to the festival's open call for international volunteers. Unlike Australian festivals, which often rely on local university placements and Screen Australia-adjacent networks, SHUNAFFoZ actively recruits from across the African continent and beyond, creating a remarkably diverse crew.

Having spent years volunteering at ACMI events and smaller Melbourne screenings, the volunteer found the application process refreshingly straightforward. A short motivation letter, two references, and a brief video introduction were enough. Within six weeks, they were booking flights through Addis Ababa, ready to begin two intense weeks of festival life.

The first days of festival operations

Arrival in Lusaka comes with its own rhythm. Volunteers are typically housed near the main festival hub, and the first two days are spent acclimatising to the heat, the local food markets, and the festival's communication tools. WhatsApp groups dominate, a setup familiar to anyone who has coordinated events in Brisbane or Adelaide, where festival teams often rely on similar mobile-first workflows.

The opening day begins with a venue walk-through. Screens, sound systems, and accessibility provisions are checked alongside local technicians. The volunteer described the careful attention given to subtitles and audio description, areas where SHUNAFFoZ has steadily improved. This echoes standards upheld by the Australian Classification Board and by organisations advocating for inclusive screenings at events such as the Sydney Film Festival.

Managing submissions and programming pipelines

Once operations are running smoothly, programming becomes the focal activity. SHUNAFFoZ accepts documentaries, short films, and feature-length films through an online portal, and the volunteer spent considerable time assisting the selection committee with technical checks. Codec compatibility, frame rate mismatches, and missing metadata are common issues, and a volunteer's sharp eye can mean the difference between a clean screening and a delayed one.

For filmmakers considering submission, the volunteer recommends reading the how to pitch your feature film to VIP's development department guide, which clarifies what programmers look for beyond the finished cut. They emphasised that a well-prepared press kit, including stills, director biographies, and a clear synopsis, often accelerates the review process significantly, mirroring practices seen at the Antenna Documentary Film Festival in Sydney.

Working with filmmakers and jury coordination

The middle of the festival week is densely packed with filmmaker Q&As, jury deliberations, and industry panels. Volunteers assigned to hospitality greet arriving directors, many of whom travel from across the SADC region and further afield. Translators are on hand for French, Bemba, and Nyanja conversations, and the volunteer recalls how often a quiet word in a filmmaker's first language could ease nerves before a public screening.

Jury coordination involves logistics as much as artistic judgement. Volunteers deliver screening schedules, collect ballots, and ensure deliberation rooms remain free of interruptions. The volunteer was struck by the seriousness with which jurors approached their task, often staying late into the Lusaka evenings to debate a single frame. A recent conversation with N'gongola Mwaba highlighted how thoughtfully curated programmes can launch a career, a point underscored repeatedly during jury meetings.

Australian parallels and cultural exchange

Several operational elements at SHUNAFFoZ mirror Australian festival practice. Ticketing, for instance, follows a tiered model with concession rates for students and seniors, much as the Brisbane International Film Festival or the Melbourne iteration does. Both countries also rely on a mix of public funding, private sponsorship, and box-office revenue, though the proportions differ considerably.

Cultural exchange remains a strong theme. Australian films occasionally screen at SHUNAFFoZ, and the volunteer noted how warmly First Nations stories were received, particularly those from communities in the Northern Territory. Conversely, the volunteer returned home with a deeper appreciation of the challenges facing independent filmmakers in landlocked Zambia, where distribution windows are tighter and theatrical infrastructure less dense than in Sydney or Perth. Such exchanges often spark co-production conversations supported through the Australian Screen Production Incentive.

Operational essentials for festival volunteers

The volunteer shared several practical lessons that apply to any festival context, from the chaotic energy of SHUNAFFoZ to the polished corridors of the Sydney Film Festival.

• Mastering the scheduling software before opening day reduces stress and prevents double-bookings across venues.
• Building relationships with local drivers and caterers ensures smoother transport and meals for visiting filmmakers, especially during late-night events.
• Carrying a portable toolkit with adapters, gaffer tape, and spare HDMI cables saves time when technical glitches arise mid-screening.
• Familiarising oneself with local emergency numbers and the nearest clinic helps when filmmakers or guests require quick assistance.

These habits often translate across hemispheres, and the volunteer now applies them to Melbourne-based events.

Lessons learned and lasting impressions

Beyond the practical skills, the festival left a lasting mark on how the volunteer approaches film curation, audience development, and international collaboration.

• Patience is essential when navigating visa queues, equipment delays, and last-minute programme changes typical of African festival circuits.
• Cultural sensitivity, from greeting customs to dietary considerations, builds trust with filmmakers far more quickly than technical skill alone.
• Documentation matters: detailed shift logs help future volunteers and contribute to the festival's institutional memory.
• Networking pays dividends long after the closing credits roll, with former volunteers often becoming programmers, distributors, or production managers.

The volunteer still keeps in touch with jurors and filmmakers met in Lusaka, several of whom have since visited Hobart for residencies.

Anyone considering a stint with SHUNAFFoZ should prepare for long days, modest accommodation, and the rewarding chaos of a festival that punches well above its weight. Applications for the next edition typically open six months in advance, and early submissions are encouraged. Bringing a small project of your own, whether a short documentary or a podcast, can also enrich the experience and open doors to local collaborators.

For those inspired by this glimpse into festival life, the SHUNAFFoZ team welcomes enquiries through the Vilole Images Productions website, where you can also explore past interviews and learn how to support the festival's growing international footprint. Whether you are based in Sydney, Hobart, or somewhere further afield, the chance to contribute to one of Africa's most distinctive film gatherings is closer than it appears.