Reuben Odanga deep in discussion with cast and crew on location for Mo-Faya.
Reuben Odanga, one of Kenya's most celebrated creators, is back with a new project on Netflix. Known for his award-winning Kiswahili telenovelaSelina and his 2022 debut feature filmNafsi, Odanga has established himself as a storyteller with an eye for indigenous authenticity and universal appeal.
Now, his seven-part Netflix series Mo-Faya aims to push the boundaries of Kenyan drama further. The show follows Zawadie, a young woman whose quest for a fresh start with her boyfriend, Brian, takes a dangerous turn as secrets unravel and crime threatens to engulf their lives.
Mo-Faya is Odanga's second project with Netflix, providing a deeply local perspective. "Netflix gave us a lot of creative freedom and kept telling me, 'Make it local. Make it as local as possible,'" Odanga tells OkayAfrica. "I wanted Kenyans to watch this show and see themselves.
Odanga sat down with OkayAfrica to discuss the journey behind the series, which explores the complexities of Kenyan youth culture while showcasing parts of Kenya rarely seen on screen.
OkayAfrica: Congratulations! What inspired the creation of Mo-Faya?
Reuben Odanga: The original inspiration came during the COVID lockdown in Nairobi. I interacted with some police officers and realized that while citizens resented the policing of the lockdown, the officers themselves were struggling. One officer shared how hard it was to enforce protocols while convincing his teenage child to stay home.
It got me thinking—those we assume have it all together are also human, with struggles at home. That was the seed of Mo-Faya. I initially wanted to paint Kenyan police officers in a good light, though the story evolved. Later, I drew inspiration from the struggles of students in public universities, especially with peer pressure amplified by the internet. I also included elements from an actual 2012 case involving university students who were robbers working with corrupt cops. So, Mo-Faya became a blend of these stories.
It's interesting that you wanted to showcase the humanity of the Kenyan police. Their reputation suffered during this year's anti-government protests. Did that affect the story?
Interestingly, we had already finished shooting when the protests began. Watching the events unfold felt prophetic. Artists often capture the mood of their time, and we'd unknowingly depicted themes that resonated with the demonstrations, such as young people fighting injustice with nothing but their phones and flags. That is also something you will see in the show.Tell me about the creative process of bringing the show to life.
It started with a strong conviction during COVID-19. Before assembling a writer's room, I developed the synopsis, treatment, and characters. We wrote three episodes and held focus groups with students from the University of Nairobi, and their reactions confirmed we had something special.
When Nafsi premiered on Netflix and performed well, they acknowledged my understanding of Kenyan nuances. During a pitch meeting, I presented Mo-Faya along with three other ideas. Netflix loved its readiness—eight completed episodes and focus group feedback. They wanted a quick turnaround, and we finalized the deal for seven episodes.
How does Mo-Faya reflect your growth as a storyteller since Selina and Nafsi?
Mo-Faya represents growth. First, Mo-Faya is a licensed project, meaning we own the IP. Netflix gave me creative freedom, urging me to keep it local. I want Kenyans to watch this show and to see themselves. I want them to say, 'That looks like my dad,' 'That looks like my mom,' or 'I know this kind of scenario.' That's why we chose the University of Nairobi and wanted to ground it on realism. We also showcased Kenyan culture authentically, like scenes set in Western Kenya.
I learned the power of pre-production and connecting with audiences beyond Nairobi from making Selina. This time, I took more risks. For example, we shot in Mumias, a place rarely depicted on screen. The series also deviates from conventional genres to keep viewers guessing, which is a significant leap for me as a filmmaker.
Reuben Odanga collaborates with the cinematography team to capture a dynamic street scene in Nairobi for Mo-Faya.
Photo by Sammy Nyaberi, Multan Production
Speaking of Mumias, I don't think I've seen content from that part of the country.
And they have good stories as well! Like the moments when we go to the village, and our parents naturally speak to us in our mother tongue. You'll see those authentic elements throughout the series.
I've taken risks—some of them have even hurt me financially—but I think I've grown as a filmmaker because of them. I can't wait to see how audiences interact with the show and resonate with its themes.
Where did the name Mo-Faya come from?
In Sheng (pidgin), it translates to "more fire" or "more trouble." That's the original translation. But in other corners, Mo-Faya is connected to hash. I met some filmmakers from Jamaica, and they were very excited! They said my show would be a hit in Jamaica (laughs). However, it's also a catchy term in Kenya that resonates with youth culture.
You mentioned that this show aims to capture Kenyan youth. How did you ensure that it did that?
I wanted Mo-Faya to reflect the realities of Kenyan youth, not just their aspirations. Most of the content for Gen Zs is created by millennials, and sometimes there's a disconnect. We assume that Nairobi is Kenya, but many young people come to Nairobi for university or work—they aren't all born and raised here. That's why I took the story outside Nairobi, showing a more relatable journey for many.
For example, in the show, you'll see students grappling with peer pressure and societal expectations, issues intensified by social media and the internet. I also created real characters—people who youth can look at and say, "That's me" or "That's my neighbor." During our focus group sessions with university students, their engagement told me we got it right. No one left early—they were completely hooked, which affirmed that the story resonated with them.
Lead actors Lorna Lemi and Brahim Ouma share a moment in Mo-Faya, a Netflix series set in Nairobi and Western Kenya.
Photo by Sammy Nyaberi, Multan Production
The University of Nairobi plays a huge role in the series. Tell me more.
We partnered with the University of Nairobi, involving 15 film and theater students in the production. Seven of them are still working with us on new projects. Additionally, nearly 700 student extras participated, bringing authenticity to the campus scenes. This collaboration wasn't just about creating the show; it was also about empowering these young creatives by giving them hands-on experience and paying them fairly.
How do you approach your filmmaking today?
Filmmaking is like tree farming—you plant and nurture a seed, but it takes years to bear fruit. I wrote Nafsi in 2016 and filmed it in 2020. Similarly, I conceived Mo-Faya in 2020 and brought it to life in 2023. This mindset keeps me consistent. Even if I don't execute an idea immediately, I ensure it's ready for the right moment. It's all about patience and preparation.
What do you hope audiences, especially Kenyan youth, take away from Mo-Faya?
I hope they enjoy it and see the sacrifices their parents make for them. It's a reminder that parents mean well, even if it doesn't always appear that way. I also hope it sparks conversations about youth struggles and societal pressures.
What do you hope Mo-Faya will achieve on a global platform like Netflix?
My goal is for Mo-Faya to resonate with audiences worldwide while remaining authentic to Kenyan culture. Stories rooted in local experiences can still appeal globally, as emotions like ambition, love, and family struggles are universal. If the story is well told, it will reach a wider audience. I hope this series sparks conversations both in Kenya and globally, showcasing the richness of our culture.
What projects are you working on next?
I'm developing another police-focused series, but this time from a KDF (Kenya Defence Forces) perspective. I also have a film project that blends music and storytelling—it's about a band in Mombasa, and at the end of the production, we'll have a movie and a 17-track album. Beyond that, I'm eager to revisit Nafsi for a sequel, as the audience has asked for it. Lastly, I'm working on adapting a legendary Kenyan author's book into a film. There's so much in the pipeline, and I'm excited about what's ahead.
Mo-Faya is now streaming globally on Netflix.
