Nairobi Filmmakers Christopher King and Maia Lekow Premiere Documentary at Sundance

Undaunted, Koinange and Wachuka envisioned Nairobi's oldest library as a space for creativity, learning and dialogue, namingtheir initiative to restore the library "Book Bunk." King and Lekow's film dives into the profound challenges of this restoration — from raising funds to navigating colonial legacies and government failures — while exploring broader themes of memory, identity and resilience.

Although this is the couple's first time at Sundance, their first feature,The Letter, was a festival favorite and Kenya's official submission to the 93rd Academy Awards in 2021. As they gear up for the Sundance premiere of How to Build A Library, King and Lekow spoke to us about the highs and lows of bringing the documentary together.

This interview has been edited for length and clarity.

OkayAfrica: Congratulations on the documentary debut at Sundance Film Festival. How do you feel about the news?

Maia Lekow: It's been super intense, but we're incredibly proud of what we've created. That said, there's always this feeling that you could tweak things even more. It's hard to let go when you've worked on something for eight years.

What interested you in telling the story about Shiro and Angela's work with the McMillan Library?

Maia Lekow: It feels like we've known Shiro and Wachuka forever. When they launched Book Bunk to restore the McMillan Library, they initially approached us to create social media videos. We agreed, but as we started working with them, we realized their story was much bigger.

The McMillan Library wasn't just a building in need of restoration — it was a powerful symbol of Nairobi's history, resilience and identity. They weren't just cleaning up the space but unearthing books, photographs and artifacts that hadn't been touched in decades. It became clear that the library was a fascinating vehicle for a much larger story about Nairobi's colonial past and how that history still influences us today.

What made you think this was a good story specifically for film?

Christopher King: After just a few days of filming, we realized there was something much bigger here. On our first day in 2017, we filmed Shiro and Wachuka walking through the library for the first time, which became the opening scene. The space itself was spectacular — crumbling yet full of potential.

On the second day, we filmed their first board meeting and saw the mechanics of what they were building, the team they were assembling and the challenges they faced. The library itself felt like a metaphor for Kenya, reflecting the government's limitations and the transformative potential of young, visionary leaders like Shiro and Wachuka.

Initially, we thought it would take a year or two, and then the library would be built. But as we followed them, we realized how much depth there was — the lobbying, the persistence, and their ability to make something extraordinary from almost nothing.

The film could have gone in so many directions. How did you decide on the themes you wanted to highlight?

Maia Lekow: That was a tough one. We went back and forth a lot, but some themes stood out. First, it's about these two incredible women. Our films have always focused on resilient, strong African women, so this felt like a natural fit.

Another key theme was intergenerational dialogue. It was fascinating to contrast older bureaucratic systems with the vision of younger, middle-class women like Shiro and Wachuka, who have a global outlook but are deeply rooted in Nairobi. Watching them navigate that dynamic was incredibly compelling.

There's a lot of history in the story from pre-independence right up to today. How did that shape the direction of the film?

Christopher King: The historical aspect emerged naturally from the discoveries in the library. While filming in the basement, they found a photograph of Kenya's first recorded hanging in 1907. It was chilling and unexpected. From there, other threads emerged, likethe Mau Mau detention camps andthe assassination of Tom Mboya. Those discoveries shaped the film's direction.

The library and its archives gave us triggers to explore these narratives. Every historical element came from what Shiro and Wachuka uncovered — nothing was added just for the sake of it. The same applies to modern elements like theRoyal Visit. We let events unfold naturally, which kept the film grounded in the library's story while exploring its broader implications.

Tell me about filming the royal visit. You had incredible access to shoot King Charles and Queen Camilla.

Maia Lekow: When we heard the news, we thought, ‘This will be amazing for the film.’ From a filmmaking perspective, it was incredible. But there was also backlash — people asked, ‘Why are they visiting? What's the intention?’ There was tension around the optics, and we wanted to capture that.

The irony wasn't lost on us. In many ways, we're still colonized. Our systems and funding structures remain tied to colonial legacies. Most arts funding in Nairobi comes from institutions like the British Council or Goethe-Institut because there's little to no support from our government. It's a strange dynamic — reclaiming our identity while relying on funding from the same systems we critique. Navigating that tension is something every creative person in Nairobi faces.

Maia, you've mentioned Nairobi creatives often have to navigate relying on foreign funding. How difficult was it to fund the film?

Maia Lekow: Funding is always an issue, especially when filming something over such a long period. At the start, we did well raising money, but there was a huge lull in the middle. Then we'd have little bursts of success, so it's always been up and down.

Christopher King: Being in Nairobi helped. We had our camera, so we could jump on a boda boda, head into town, and keep shooting with almost no budget. That flexibility kept us going.

Any other challenges?

Maia Lekow: There were tough points, like in any relationship over eight years. One protagonist didn't want to continue at one stage. That was a huge challenge — what do you do when you've invested so much time and footage? Chris and I took a break in 2020 and started filming another documentary in Lamu. It gave us room to rethink the film.

Christopher King: That pause helped us reassess. Our style is personal and intimate, but we wondered if this story was different — more historical, focused on the building and its broader context. Taking a step back really helped.

As Nairobians, one born and the other bred, what did you learn filming How To Build A Library?

Maia Lekow: I remember going to McMillan Library as a young girl a few times, but working on this helped me understand Nairobi more deeply. It's fascinating, and I feel so proud to share this with fellow Kenyans. Someone who watched the film told me, "This is my Nairobi. These are my people." That struck me because it's our Nairobi too. This feels like an untold chapter, different from many films coming out of Africa, and we're excited to share it with the world.