Hussein Dembel Sow – Pioneering AI Filmmaking in Senegal

In the heart of Dakar, a creative revolution is unfolding.

Hussein Dembel Sow, a filmmaker and screenwriter, is at the forefront of a movement that’s using generative AI to reimagine African storytelling—giving voice to narratives long overlooked by mainstream cinema.

The democratizing power of this technology is that it unlocks the ability to bring entirely new and wholly owned perspectives to life. Hussein’s primary goal is to create work by Africans, for Africans, but with a universal resonance that can connect with and inspire audiences worldwide. This is an important nuance currently lacking in the existing African portrayals that make the Hollywood rounds.

With a particular focus on themes of heritage, community, and the human experience within an African context, Hussein’s narratives often touch upon the interplay between tradition and modernity, the power of shared experience, and the resilience of the human spirit.

“Authenticity is paramount; I strive to create work that feels deeply rooted in lived realities and cultural nuances.”

With 15 years of experience in 3D animation and artistic direction, his expertise in visual storytelling and character development lay the groundwork for blending traditional artistic principles with the boundless possibilities of AI.

Hussein is the embodiment of "Imagination Age" and I’m honored to launch The Imagination Age: Spotlight Series with his feature.

Q: Your recent short “Thiaroye 44” with African music artist Dip Doundou Guiss went viral and has captured global attention. Walk us through how you brought this vision to life.

A: The whole thing started because my work with AI got the attention of music producer Jean-Pierre Seck who’s worked with some of the biggest names in French rap.

This was around the time the Senegalese government announced they were going to commemorate the Thiaroye 44 massacre – a really dark part of our history when Senegalese soldiers who fought for France in WWII were murdered by the French army for demanding their back pay.

Jean-Pierre saw an opportunity to create a music video that would pay tribute to these soldiers, the tirailleurs sénégalais and convinced Dip Doundou Guiss, who's a huge star in Senegal, to get involved.

It was clear from the start that AI was the only way to bring these scenes to life– depicting Paris during the war, the journey back to Senegal, and the Thiaroye camp itself. Traditionally, that would cost a fortune and take forever.

Working with fellow AI artist Papa Oumar Diagne, our small team navigated between various American and Chinese AI platforms to achieve our vision.

The results weren't perfect. There were some historical inaccuracies, things we couldn't quite control with the technology. But the emotional impact was undeniable. People were crying when they saw it. It was the first time many had seen this story visualized in such a powerful way, and it was made by us, by Senegalese filmmakers.

Q: You've described AI as a "north star" for filmmakers in Dakar. How has generative AI changed the creative landscape for artists who might have been excluded from traditional filmmaking pipelines?

A: Despite Senegal's rich cinematic heritage—with luminaries like Sembène, Mambéty, and Faye—our industry has declined dramatically. We’re now lucky to see one feature film produced per year, and the local television landscape is dominated by, let's just say, artistically unchallenging productions. It's difficult to claim we have a thriving film industry in the traditional sense.

The core issue is the incredibly high barrier to entry in traditional filmmaking. The costs associated with equipment, crews, locations, and post-production are simply prohibitive for most aspiring Senegalese filmmakers. This creates a massive problem of exclusion – talented storytellers are locked out of the industry purely due to a lack of resources.

This is where generative AI becomes a game-changer. It fundamentally democratizes the filmmaking process by drastically reducing the financial and logistical obstacles. With AI, a small team, or even a single individual, can create visually rich and complex scenes that would have been completely out of reach before.

But it's about much more than just cost savings. It's about empowerment. It's about providing a new generation of Senegalese filmmakers with the tools to tell their own stories, to explore their heritage, to challenge societal norms, and to create art that authentically reflects their experiences. I truly believe AI offers a pathway to revitalize Senegalese cinema, not by replacing traditional filmmaking entirely, but by providing a powerful alternative that fosters creativity, inclusivity, and a return to telling our own stories, on our own terms.

While the technology isn't perfect—continuity and visual consistency remain challenges—progress is accelerating rapidly. The stakes couldn't be higher for us. AI must deliver on its promise because it represents more than just a new technique; it offers a pathway to revitalize Senegalese cinema by fostering inclusivity and returning to storytelling on our own terms.

Q: People around the world have limited exposure to authentic African storytelling. Are there specific cultural elements or stories from your community that you're particularly excited to share through this medium?

A: While films like Black Panther and The Woman King represent important progress, they remain American productions for American audiences. My vision is fundamentally different: creating Senegalese films in Senegal, primarily for Senegalese viewers, with universal themes that can resonate internationally. AI enables us to produce high-quality, competitive content that's authentically African and challenges global misconceptions about our diverse cultures.

I'm particularly interested in exploring aspects of our culture that are often misrepresented or completely unknown. For instance, the portrayal of Vodou in Western media is almost always reduced to sensationalized clichés – voodoo dolls, zombies, and curses. This completely misses the profound spiritual and philosophical depth of Vodou, which is a complex system of beliefs and practices originating in West Africa (specifically Benin, Togo, and Ghana) and carried to the Americas through the transatlantic slave trade. It encompasses a vast pantheon of spirits (Lwa), intricate rituals, and a deep connection to nature and ancestors. I'm working on projects that aim to present an authentic portrayal of Vodou, exploring its role in community life, its healing traditions, and its complex relationship with colonialism and Christianity. Think of it as a cinematic counterpart to the work of anthropologists like Maya Deren (in her book Divine Horsemen: The Living Gods of Haiti), but rooted in a contemporary Senegalese perspective.

Similarly, I'm working to visualize Senegal's rich oral storytelling traditions. Our Griots—hereditary storytellers, poets, and musicians—have preserved cultural knowledge for generations. AI offers incredible potential to visualize these stories, to bring to life the epic poems, myths, and legends that have shaped our cultural identity. Imagine a visually stunning adaptation of the Epic of Sundiata, the founding story of the Mali Empire, told with the visual flair of a film like 300, but grounded in authentic West African aesthetics and philosophical underpinnings.

Q: What unique challenges do AI filmmakers in Senegal face compared to those in tech hubs like Los Angeles or London, and how have you overcome these obstacles?

A: The challenges for African AI filmmakers extend far beyond creative concerns—they're about fundamental access and economics. What appears as reasonable subscription costs in Western contexts often translates to a month's rent in Dakar due to currency conversion rates and economic realities. This forces extreme strategic resource management and limits our ability to experiment freely.

The industry's "AI influencer" model presents another barrier. Creator Partnership Programs often prioritize flashy social media content over substantive narrative projects. Despite the genuine intentions of companies like Runway—whose founder Cristóbal Valenzuela I deeply respect—these partnerships remain inaccessible to most African filmmakers. Our workflow simply doesn't match their expectations; I spend months developing concepts and visual language before even beginning the generation process.

Hardware access presents yet another obstacle. High-resolution image generation requires significant computing power, but my outreach to companies like NVIDIA for GPU support has gone unanswered. Tech companies appear focused primarily on markets with immediate financial returns, overlooking the unique perspectives African storytellers could contribute.

What's truly needed is sustained, on-the-ground support—initiatives like filmmaking hackathons across Africa that provide access to tools, training, and mentorship. This isn't the time for companies to focus solely on profit; it's the moment to demonstrate that AI can truly be a medium for all storytellers, regardless of geography or resources, by building a genuinely inclusive creative ecosystem.

Q: You mentioned the potential of AI to "unlock a hidden treasure trove of creativity" for filmmakers globally. Could you share a specific example of a story or project you've been able to tell through AI that would have been impossible through traditional filmmaking methods?

A: While 'Thiaroye 44' demonstrated AI's power to recreate historical events that would have required enormous budgets, extensive location scouting, period costumes, and large crews, my current project Leundeume ("Darkness" in Wolof) truly embodies this "treasure trove" concept.

This feature film explores African mythology, diving into the world of djinn, spirits, and the complex relationship between visible and invisible realms. Without AI, it would be a $20 million-plus production—the fantastical creatures and otherworldly settings would demand Hollywood-level resources.

Though current AI can't yet produce a full feature at my desired quality, it's been crucial in developing the project's visual language. I've created over 7,000 images using various AI tools, meticulously crafting the film's aesthetic—essentially building a comprehensive "living storyboard" that guides the entire creative process.

With rapid technological evolution, particularly video generation models like Google's Veo 2, I'm optimistic about producing at least a short film version by 2025. This won't merely be a proof of concept but a powerful, emotionally resonant story showcasing AI's potential to bring African mythology to life in unprecedented ways—giving ancient narratives a contemporary cinematic voice through cutting-edge technology.

Q: What new revenue models are emerging for AI artists? Are collectors, brands, or tech platforms offering new ways to monetize?

A: The revenue landscape for AI artists remains in flux—truly a Wild West. Despite 'Thiaroye 44's international attention, it hasn't immediately translated into consistent, high-paying work. The project has, however, created valuable connections with industry figures like those at Secret Level and the Machine Cinephiles community—relationships that may prove crucial long-term.

Currently, my main income comes from local Senegalese clients—brands, institutions, musicians, and influencers—creating everything from social media content to marketing visuals. The persistent challenge is establishing consistent pricing when the value proposition of AI-generated art remains undefined and client understanding varies dramatically. I've experienced both highly lucrative quick projects and others where compensation nowhere near reflected my investment of time and expertise.

The reality today is that AI art alone rarely provides a reliable full-time living. As the technology evolves and the market matures, client education remains ongoing. Yet I'm optimistic that a sustainable ecosystem with diverse revenue models will emerge.

For this to happen, we need continued technological advancement, increased market awareness, and—crucially—recognition of the substantial artistic skill and creative vision required for high-quality AI art. The future holds promise, but demands persistence, adaptability, and unwavering commitment to pushing creative boundaries, especially from those of us who were early adopters and have remained dedicated to developing this new medium.

Q: Looking ahead, how do you envision AI filmmaking transforming the creative economy in Dakar and across Africa? What supportive infrastructure or collaborations would help maximize this potential?

A: The innovative work of artists like Linda Dounia and Delphine Diallo demonstrates AI's transformative potential in Africa. I envision AI filmmaking completely reshaping our creative economy by lowering barriers, empowering new voices, and enabling us to compete globally.

Realizing this potential requires meaningful support. Governments must recognize AI not as a mere buzzword but as a crucial tool for cultural and economic development. This means investing in fundamental infrastructure—reliable high-speed internet (with Starlink potentially revolutionizing access in remote areas), funding for comprehensive training programs to equip new generations of filmmakers, and fostering collaborative environments.

My current collaboration with Ken Aïcha Sy—a major figure who founded Wakh'Art and now directs Galerie Le Manége—exemplifies the kind of partnerships we need more of: connections between artists, technologists, and institutions. We require spaces dedicated to experimentation, learning, and idea exchange, supported by both public and private sectors.

If we can build this ecosystem, African filmmaking powered by AI won't just survive—it will fundamentally redefine what's possible in global cinema.

Q: There's often concern about Western technological dominance shaping AI development. How are you and other African creators working to ensure African perspectives influence the evolution of AI creative tools rather than simply consuming technology developed elsewhere?

A: While there's a historical pattern of Western-developed technology being passively consumed elsewhere, I see AI offering a unique opportunity to leapfrog this model. Rather than focusing on creating separate "African" AI tools from scratch, our strength lies in how we apply these increasingly accessible technologies.

I believe our impact comes from using these powerful tools to express uniquely African perspectives—visualizing our myths, exploring our contemporary realities, and challenging existing narratives. It's about mastering the technology to innovate rather than replicate.

This approach mirrors early Senegalese cinema pioneers like Ousmane Sembène, who didn't invent cameras but used them to tell previously untold stories in authentically African ways, transforming Western technology into a tool for cultural self-expression and social commentary.

Q: What ethical considerations do you think every platform developer and also every AI artist should be thinking about?

A: The ethics landscape is a minefield. I've faced harsh criticism for promoting AI filmmaking, but having been a traditional artist myself, I understand the underlying fears.

For platform developers, transparency is paramount. They must be forthcoming about training data sources, fair artist compensation, and opt-out options. Copyright concerns need direct addressing, and developers must actively mitigate how these models can amplify harmful biases and stereotypes.

As AI artists, we have our own responsibilities—remaining mindful of inherent biases, being upfront about our processes, and using AI thoughtfully rather than letting it dictate outcomes.

Unfortunately, discourse around these issues has become toxic and polarized with little room for nuance. We urgently need constructive dialogue that acknowledges legitimate concerns while exploring AI's potential to expand creative expression. The goal isn't replacement but coexistence and collaboration between traditional and AI-assisted approaches.

Q: Fast forward 10 years: How do you think AI will have changed the creative industry?

A: Given the current pace of development, prediction is nearly impossible. However, I envision AI completely transforming creative industries, with African cinema particularly exploding onto the global stage—winning awards and breaking records not by copying Hollywood but by telling our stories our way.

AI will fundamentally democratize filmmaking by breaking down financial barriers that have long constrained us. We'll see previously unimaginable creations emerge—new genres, styles, and storytelling approaches—while boundaries between creative disciplines (film, music, animation, gaming) increasingly blur.

The journey will bring challenges, certainly, but the potential for creating a more diverse and inclusive creative world is immense. I believe Africa, with its rich storytelling traditions and willingness to embrace new technologies, will lead this transformation.

Q: Which AI art or artists have inspired you recently?

A: There are so many AI artists doing incredible work right now, it's hard to pick just a few! But some that have really caught my eye recently:

• Doopiidoo: Creates boundary-pushing, bizarre otherworldly creatures that feel genuinely unique in the AI space—work that's both unsettling and unlike anything else in the field.

• Linda Dounia: Fellow Senegalese artist using AI not just for aesthetics but to explore crucial issues of power, representation, and digital divides. Through projects like NFTs and CyberBaat, she actively empowers other African digital artists.

• Delphine Diallo: Senegalese artist based in Brooklyn who masterfully blends photography with AI to create beautiful yet thought-provoking explorations of identity and heritage.

• Kavan the Kid: He's showing how AI can be used to create blockbuster-level visuals on a shoestring budget. It's proof that AI can democratize filmmaking and level the playing field.

• Machine Cinema: The group in LA. They’re a constant source of inspiration, really pushing the boundaries of AI filmmaking, experimenting with new techniques and styles.