The Battle for Laikipia is a compelling documentary that delves into the interconnected themes of climate change, historical land conflict, and inequality in Kenya’s Laikipia region. Directed by Peter Murimi and Daphne Matziaraki, the film has resonated with audiences globally, premiering at the Sundance Film Festival earlier this year and recently making its Kenyan debut at NBO Film festival as its opening night film, selling out most of its screenings.
The documentary has received numerous accolades across the world, including Hot Docs Land Sky and Sea Award, Amnesty International Durban’s Human Rights Award, Special Award and Best Editing award at Flimambiente 2024, Asja Prize for the best documentary in the international section at CinemAmbiente Festival, Best Socio Environmental Documentary award at Guadalajara Film Festival in Mexico.
The Battle for Laikipia is Produced by Toni Kamau of We Are Not The Machine and Daphne Matziaraki; Executive Produced by Roger Ross Williams and Geoff Martz of One Story Up; and Co-Produced by Maya Craig.
In this Co-director’s feature, Peter and Daphne discuss their journey working together, their creative process, and the challenges of telling such a sensitive and multifaceted story.
1. Can you tell us about your experience working as Co-Directors on The Battle for Laikipia? How did the two of you first start working together on this project, and what drew each of you to the story of Laikipia?
Daphne: Our journey as Co-Directors began through our executive producer, Roger Ross Williams, who introduced me to Toni Kamau, our Producer. I shared my idea with Toni, and we immediately connected over the importance of this story. Toni and Roger introduced me to Pete, and though he was initially busy with ‘I Am Samuel’, we knew he would be a key part of the project once he was available. For me, this film is deeply personal. It explores themes that I believe are essential conversations globally; climate change, land allocation, and historical injustices, all tied to the universal concept of home. We can’t talk about the future without acknowledging our past, and that’s especially true when it comes to land and resources.
Pete: The collaboration began when Roger Ross Williams, our Executive Producer, introduced Daphne to Toni Kamau, our Producer. At the time, Daphne was living in Kenya and working with UNEP. She was deeply moved by the ongoing conflicts in Laikipia and felt that the story needed to be told. Toni and Roger connected me to Daphne, and we quickly realized we were on the same page about how we wanted to tell this story; transparent, balanced, and without taking sides. It was clear early on that the complexity of Laikipia’s story needed a collaborative approach, and that’s how we started working together as Co-Directors.
2. As Co-Directors from different backgrounds, what was it like telling the story of Laikipia? How did your diverse perspectives shape the storytelling process, and what challenges did you face in navigating these differences?
Pete: Our different backgrounds actually turned out to be a huge strength for this project. Each of us brought unique perspectives informed by our personal experiences and environments. Combining those worldviews made the film richer. That said, it wasn’t just about Daphne and me, our team was incredibly diverse. From Sam Soko as Editor to our diverse producing team consisting of Toni, Maya, Geoff and Roger, which provided editorial support, the team’s varied perspectives helped ensure the story was layered and balanced. Of course, navigating such diversity came with its challenges, but it was also what made the storytelling process so rewarding.
Daphne: Co-directing this film with Pete was an incredibly enriching experience. I often reflect on how complex this story is, there’s no way I could have made it alone. Having two perspectives allowed us to create something more balanced and layered. Working with Pete wasn’t just about collaboration; he became my rock. During moments of confusion or stress, talking to him brought clarity and balance. We come from different worlds, but we share the same principles, values, and ethics. This mutual understanding was our guiding compass. It wasn’t always easy, there were difficult moments, especially in the editing process but we constantly questioned and challenged each other in the best ways.
I’ve grown so much through this experience, both as a filmmaker and as a person. I deeply admire Pete, not just as a co-director but as a friend, and I would work with him again in an instant. This collaboration has changed and shaped both of us, and I believe it’s reflected in the film’s depth and honesty.
3. Considering that the film delves into sensitive themes like historical land conflicts and climate change, how did you approach these complex topics in the African context? What challenges did you encounter in balancing these themes with the characters’ personal stories?
Daphne: Approaching these sensitive themes was a deeply personal journey for me. Even though I’m not from Kenya, I’ve had a strong connection to the country since moving there 20 years ago for an internship with UNEP. Living in Kenya opened my eyes to the realities of climate change, land allocation, and identity, issues that were not widely discussed at the time but were clearly interconnected. The complexity of Laikipia’s story struck me early on. Conversations with both Samburu families and fourth-generation white Kenyans revealed the deep divides and untold histories. For example, I remember a white Kenyan friend’s mother telling me they always had “one foot here and one foot in the UK,” which underscored the strange, conflicted sense of belonging.
These insights stayed with me and made me realize that we can’t talk about climate change without addressing historical injustices and the concept of home. Navigating these themes wasn’t easy, especially given the taboo nature of colonial history and privilege. Many conversations were uncomfortable. This only reinforced the need to tell this story with honesty and multiple perspectives. I knew from the start that I couldn’t do this alone; it was crucial to have a Kenyan voice like Pete’s to ensure the film was grounded in authenticity and truth.
Pete: Yeah, so this is something really important, the themes in the film are all interconnected. For example, climate change doesn’t happen in isolation. In this story, it became a catalyst that brought historical land injustices to the surface. And it’s not just that; issues like governance, inequality, and access to resources are all tied together. In Laikipia, inequality looks like some people having vast land and resources while others have very little. These disparities become even more pronounced under pressure from climate change. What was crucial for us was showing how these broader themes impact our characters on a deeply personal level. This film had so many intertwined themes, and the stakes were incredibly high for the people involved. Instead of shying away from the complexity, we leaned into it. It was about embracing those connections and weaving them into a cohesive, human story.
4. Many reviewers have described the film as a fair and balanced portrayal of the Laikipia conflict. Do you agree with this assessment, and how did you approach the film’s balance in telling this story? What strategies helped you ensure that each perspective was represented in an honest and unbiased way?
Pete: From the beginning, we knew getting the balance right was crucial. We spent a lot of time in the edit to ensure fairness, honesty, and balance, but this wasn’t easy. In fact, it became a really nuanced and, at times, painful process. Striking this balance was a delicate act. Sometimes, in trying to be balanced, you risk losing honesty, which we were determined to avoid. What made it possible was having a strong editor like Sam Soko, whose talent and perspective were invaluable, along with an editorial team that continually challenged us to push for truth and fairness. It was a commitment to the story that demanded a lot from everyone involved, but it was absolutely worth it.
Daphne: That’s a really good question because we could have made a very different film, one with a clear victim and villain, which might have even been more commercially appealing. But that’s not what we wanted. Our goal was to create understanding. We aimed to deeply explore each character’s perspective and their place in the world. By doing so, we hoped to spark a more balanced and meaningful conversation about the complexities of Laikipia’s story, rather than presenting a simplified narrative.
5. Since The Battle for Laikipia premiered at Sundance, how has the audience reception been? Has the reaction from both Kenyan and international audiences been what you expected, or have there been any surprises?
Daphne: The audience reception has been an incredible journey to witness. We started with our premiere at Sundance, which was an exciting and amazing achievement for the team. The screenings were well-received, but it was an incredibly competitive season, with fewer resources allocated to trade publications which cover international films. However, as the film traveled to festivals like Hot Docs, CPH:DOX, Sheffield, and many others including places like Greece and Brazil. It was amazing to see how deeply it resonated with diverse audiences, even in countries with no colonial history connected to Kenya.
What’s been most rewarding is seeing how universally relevant the story is. Audiences around the world have connected with the themes of climate change, historical injustices, and identity. It’s fascinating because this isn’t a typical “climate film. It doesn’t show floods or climate refugees. Instead, it reveals how climate change can bring unresolved societal issues to the surface. This is something we’re seeing globally, and it’s been powerful to watch people recognize that.
The Kenyan premiere at the NBO Film festival, where we were the opening night film, was particularly meaningful, though I couldn’t attend. We are not the machine, which co-produced the film with One Story Up, organized the Kenyan premiere in collaboration with partners in the climate space. Hearing from the team and knowing how well the film was received in Nairobi was incredibly moving. It sparked powerful conversations around history, belonging, land rights and the impact of climate change, and it seemed to resonate deeply, especially with younger audiences. Seeing how relevant the film is to contemporary Kenya, and how it’s opening up essential discussions, has been very gratifying.
Pete: The reception has been fascinating because it varies so much depending on the audience and their perspectives. At Sundance, for instance, the premiere night was packed, and the reactions were a mix of emotions. Some viewers were visibly angry after watching the film, while others took a more logical approach, asking questions like, "How do we solve this?" It’s been intriguing to see how the film sparks such different responses; some deeply emotional, others more analytical.
Screening it in Kenya was particularly special for me. This is a Kenyan story, and I was looking forward to showing it at home. The reaction here has been eye-opening. For example, the Samburus are often referred to as 'bandits' in media narratives, especially during conflicts. But after watching the film, some viewers realized how misleading and reductive that label is. They began to see the depth and context of the situation in a new light, which was incredibly rewarding.
6. In recent years, we've seen more African filmmakers collaborating with directors from different backgrounds on films like Free Money, Empty Grave, and Bobi Wine: The People’s President. How do you view this trend, and what do you think it signifies for global filmmaking? What unique benefits and potential challenges do you believe these kinds of collaborations bring to the industry?
Daphne: I think there's a key point to consider in these collaborations: the need to be earnest and come from a place of equality. In my case, Pete and I have similar career paths and accomplishments, so we approached this project as equals. However, I’ve seen a trend where collaborations don’t always have this balance, and that’s something I’m not in favor of. The idea of a “white person, African token director or producer” dynamic isn’t healthy or sustainable for meaningful work.
When collaborations are approached from an equal standpoint, they can bring incredible value. Diverse perspectives are essential in filmmaking. The more diverse the team, the richer and more balanced the final product will be. Successful collaborations can be difficult to achieve, but when they work, they are the most rewarding part of the process.
Beyond the creative benefits, collaboration also opens doors to different markets and audiences. A collaborative, equal partnership has the potential to reach broader, more diverse groups, making the work more impactful. Ultimately, the key is for the collaboration to be grounded in equality and mutual respect.
Pete: Collaborations like these can be incredibly valuable, especially for telling complex and nuanced stories. Speaking from my experience with The Battle for Laikipia, I can confidently say that if either Daphne or I had made the film alone, it wouldn’t be what it is today. Having two Co-Directors allowed us to bring different strengths and perspectives, which enriched the storytelling in ways that wouldn’t have been possible otherwise.
Of course, there’s always some nervousness when entering a co-directing partnership. You hear horror stories about things going wrong, and it’s natural to wonder how the collaboration will turn out. But in this case, it proved to be the best decision for the film. Daphne and I challenged each other, complemented each other’s approaches, and grew from the experience. I learned so much from her, and I believe she learned from me as well.
What also helped us was that we had a strong producing team supporting us. This includes Toni Kamau, this year’s Sundance Amazon MGM non fiction producer prize winner, who also produced Softie; Maya Craig, a National Geographic explorer; Habiba Gicheru our amazing production coordinator at We are not the machine; Kati Davenport, the incredible Head of production at One Story Up; Geoff Martz an Emmy winning producer; to Roger Ross Williams, an Academy award winning filmmaker. Their support was crucial on the editorial, logistic and release fronts. It truly takes a village to make any film, and it was important that we all had a voice.
For me, this collaboration was incredibly rewarding, and I’d do it all over again without hesitation. It’s exciting to see more African filmmakers exploring these kinds of partnerships. They not only open up new possibilities for storytelling but also help elevate African stories on the global stage.
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