Touted as one of Kenya’s most edgy TV shows in recent years, Kash Money provides a tantalising take on the human condition. In an interview with Expression Africa, series director Grace Kahaki takes us through her moviemaking journey.On January 31, the Kenyan drama series Kash Money premiered on Netflix to much applause. Touted as one of Kenya’s most edgy TV productions in recent years, the series provides a tantalising take on the human (Kenyan) condition.
Driven by dialogue brimming with F-bombs and a fair sprinkling of kinky sex scenes, Kash Money is wont to scandalise those of conservative persuasion. They might, however, find little fault in its solid storyline that juxtaposes African folk storytelling to bring alive a Kenyan TV noir set in grime-infested urban dwellings and glinting glass-and-steel edifices where greed is as deep-seated as it was in the days of hare and hyena as it’s in the era of short form videos.
This attempt to Africanise the story in an ultra-modern setting has been lauded, not least as it employs a vanishing oral tradition, but because it shows that there was a deliberate effort to foreground it.
More praise for the series has been heaped on its shooting, editing, and, indeed, casting. Featuring veterans like Oliver Litondo and John Sibi Okumu as well as the indefatigable Swahili TV drama queen Sanaipei Tande, the all-star players delivered the goods.
The brainchild of Grace Kahaki and Philippe Bresson, the Kenyan director duo behind Insignia Productions, known for other well-received offerings such as Single Kiasi (Showmax), Kash Money was intended to elevate the Kenyan TV and film art form.
And with the release of Kash Money, the quest is still very much on, as Grace Kahaki tells Expression Africa.
EXPRESSION AFRICA: How did the idea for the series come about?
As creatives, we have so many ideas and are constantly brainstorming for shows and series. We came up with Kash Money about seven years ago. It was inspired by many events we’d witnessed.
GRACE KAHAKI: How long has Kash Money been in the making and when did Netflix come in?
We filmed the pilot in 2018 and then started presenting it to networks. Netflix was interested! Preproduction started in July 2023 and filming wrapped in February 2024. Editing and all post-production ended in October last year. Production is a long process and requires persistence and patience. It can take years to produce two hours of content, a true labour of love.
Yours is a star-studded cast, the who’s who of Kenyan TV and film. How did you assemble such talent, and what does it take to attract such a cast?
Thank you. The cast is composed of well-established actors in the Kenyan entertainment industry as well as some fresh new faces. We had already worked with some actors like Lenana Kariba and Morris Mwangi, but we also wanted to work with people we had never had the pleasure of working with. We auditioned a wide variety of actors after our casting director put out numerous casting calls. After reviewing endless tapes, Phil [Philippe Bresson] and I were extremely pleased with our final choices.
What do you hope to achieve as a filmmaker with this series?
I want people to enjoy this series and to allow Kenyan filmmakers to make whatever art moves them. Our drama series is about flawed and comical characters with a dark tone. I hope that what people take away from this project is that as Africans we have so many rich and diverse stories to tell – don’t be limited. Be bold and tell your story no matter how crazy it is.
Tell us about your journey in film/TV
Growing up in Malawi, I loved film. I watched everything I could and was so mesmerized by how a film could make you feel certain emotions. I majored in psychology in college and studied drama for my A-levels. I have always been fascinated with the human mind – why do we do what we do?
I started out in the Kenyan film industry in 2010 and never looked back. I believe that you should at least experience all departments of filmmaking to understand their value and how all pieces come together. I have dabbled in writing, camera work, editing, sound, makeup, and wardrobe.
How different is it being a woman in the industry?
It depends on what you choose to specialise in – I am a producer and a director. As a director in a male-dominated sector, like all things, you have to fight for your place. There have been moments where I am overlooked because people don’t believe that I am the director on the project, but I know what I am doing, so this doesn’t rattle me. I always say don’t be afraid to be loud and speak your mind; no one will know what your opinion is if you don’t speak up.
Does your work help you understand yourself better?
Absolutely. I understand my personal truths better.
What needs to happen so the Kenyan industry can achieve its full potential?
I think we’re heading in the right direction. The industry is growing and I am so glad to be a part of it right now. I think we need to look inward, we have such rich and delicious stories to tell and we have to tell them our way. Don’t compare us to other productions, let’s do things our way. There is so much power in your uniqueness.
