Phumi Morare’s journey from the corporate world to filmmaking is a testament to her strategic mindset and skills in bringing to life her passion for storytelling. Leveraging her McKinsey background, she navigates the complexities of the film industry with precision and purpose, while her films offer cultural authenticity with global appeal.
You started your career in the business world. How did your experience at McKinsey and Goldman Sachs shape your perspective on taking risks and pursuing your passion for filmmaking?
McKinsey and Goldman Sachs were invaluable training grounds that shaped my approach to risk-taking, problem-solving, and strategic thinking in filmmaking. As a producer and director, I’m constantly navigating uncertainty—anticipating challenges, planning for multiple outcomes, and ensuring I have contingency plans (B, C, D, and beyond).
At Goldman Sachs, I developed a keen ability to assess financial risks, make data-driven decisions, and present compelling cases to key stakeholders—skills that are crucial when raising financing for films and negotiating deals.
Meanwhile, McKinsey equipped me with a strategic problem-solving toolkit that allows me to approach filmmaking with structure and efficiency, whether it’s breaking down complex production challenges or crafting persuasive pitch decks. Beyond technical skills, both environments instilled in me a relentless work ethic and a drive for excellence—qualities that have been essential in my transition from finance to film. They taught me that while creativity is at the heart of storytelling, strategy and execution are what bring a vision to life.
What did it mean to you to be short-listed for an Oscar for your film “When The Sun Sets”?
Being short-listed for an Oscar and also winning the NAACP Image Award for "When The Sun Sets" was an incredible experience. The film was inspired by my mother's story, and is a story of a Black woman's resilience against oppression through the power of her love. The idea that my mother's story, a story so meaningful to me, resonated to this extent was mind-blowing to me. It was also an affirmation to trust my instincts about the kinds of stories that I want to tell, because I wouldn't have predicted that many people besides South Africans would care much about the story of a Black woman in the 1980s in South Africa.
How do you navigate the challenges of balancing cultural authenticity with the need – or perhaps, more accurately, the pressure – to appeal to a broader, global audience in your films?
That's such a great question. It's a really tough balancing act because there definitely is pressure to appeal to a broad audience with tried and tested types of stories. But what motivates me is a strong desire to stay true to myself and the purpose I believe I have in cinema. I would like to play a part in the growth of African cinema, and growth in cinema has historically occurred when artists have had the courage to push boundaries and remain on the cutting edge of storytelling. That requires the courage to stay true to yourself and the stories you believe are important to tell.
What advice do you have for aspiring creative people who are considering a career change, similar to your own journey from finance to filmmaking?
A lot of people think I took one giant leap out of corporate into cinema overnight. I didn't. Although I'm adventurous and do courageous things, I'm actually more risk-averse than may be apparent. So while I did take a giant leap of faith, it took a few years and I had to be very calculated about it. If anyone is considering a career change and they're like me, I would suggest starting to dabble in the area that you are interested in. Talk to a lot of people in the space because that will help you start to understand how you can play there, and it might lead you to collaboration opportunities that help you to take the leap. That's what happened with me.
You spent some time in the U.S. Has that experience affected your work, and if so, how?
Yes, I went to Chapman University in California and I interned at Hollywood production companies like Plan B Entertainment, Day Zero Productions, and Bona Fide Productions. That experience exposed me to filmmaking at a large scale and at a high level of execution. The internships also taught me about the business of filmmaking and expanded my international networks. I got to meet people I look up to in the industry, and I was taught by exceptional film industry talent. It was an incredibly important training ground for me that elevated my craft and positioned me as an international filmmaker.
