For Likarion Wainaina, Creating Kenya’s First Sci-Fi Series is About Pushing Boundaries in African Filmmaking

“Cinema, and this includes TV, should entertain,” Wainaina tells OkayAfrica. “Sci-fi, at its core, is about how imagined and real science affects human behavior. It doesn’t have to be futuristic. We wanted to show that there’s more to sci-fi than the usual tropes,” he adds about the film.

In an exclusive interview with OkayAfrica, Wainaina reveals how the groundbreaking series, co-produced with series creator and head writer Brian Munene, came to life, while also discussing Africa’s risk appetite for this kind of innovative content.

OkayAfrica: Congratulations on this project! How did it come about for you?

Likarion Wainaina: Thank you! The idea actually belongs toBrian [Munene], my co-producer at Kibanda Pictures. On a random day, Brian posted the treatment for Subterranea on our group chat. It wasn’t complete, and I just assumed he was teaching himself how to make treatments since I’m usually the one who does them. I didn’t think much of it until Bruce Makau, [another team member], asked, ‘Where did you get this idea from?’ And that’s when Brian [Munene] was like, ‘This is actually an original idea from me.’

That’s when I knew we couldn’t let this idea go. I even submitted it to Showmax without [Munene]’s approval—he wasn’t done with it! He was mad! But I told him, ‘This is good. If they reject it, we can move at your pace.’ And then Showmax picked it.

What made this treatment stand out to you?

What got me was the compactness. It’s not about big action scenes — it’s about eight people in an enclosed space. No fancy camera work, no expensive sets. Just people. And for me, the mark of a great director is making two people talking in a room captivating. This was all about character.

Brian [Munene] had already broken the characters down psychologically, which made it easy. We could actually make a character 60 years old and it would still work. We could make a character 16 and it could still work. The challenge was to make them interesting, and Brian [Munene] kept reminding me, ‘It’s character, character, character.’

You’ve spoken about pushing back on what people think sci-fi should be. Can you tell us more about that?

You have mentioned that you were not sure if Showmax would pick up the show. Why?

We are growing as an industry, but we're not growing as fast as people want. So you never know what bold steps someone is willing to take. We are so young as an industry that any new shift, be it a genre or a style of filming, is a pioneer move. And pioneer moves can be hits or misses. And that's why, with Showmax, I was scared because I wondered if this is a pioneer move that is too risky for them. Not because they are not open to creativity, but I understood their risk. And even after they accepted the show, we had to be careful in our approach not to be caught up in the art so much that we alienated the business or their subscribers. But at the same time, I wanted to push boundaries and challenge how we tell stories. It’s about making art that resonates personally, while also keeping in mind that we’re in the business of entertainment.

How has your film-making evolved since the release of the successful Supa Modo in 2018?

My journey has been a mix of trial and error, with some incredible opportunities along the way. Supa Modo was a major turning point for me — it showed me the power of storytelling and how much impact a film can have. But even after that, each project has taught me something new, whether about myself as a storyteller or about the craft itself. I’m still evolving as an artist, but at my core, I believe in telling stories that feel authentic and push boundaries, even when it’s risky.

What do you hope viewers take away from ‘Subterranea?’

What's next for you?

I’m honestly at a crossroads. I’ve been fortunate to work on projects that are a mix of commercial and personal, that allow me to express myself creatively. But now, I’m wondering if it’s time to take a break or shift gears. A lot depends on how Subterranea is received. If Subterranea works out perfectly and it opens up doors to new projects or new approaches or new styles, I would happily just go back into the trenches. But if not, I might focus on producing for a while. We’ll see.