In Jessica J. Rowlands‘ directorial debut “Rise,” there’s a quiet certainty to every frame. It’s as if the story was always meant to be told, just waiting for the right voice—and more importantly, the right place—to tell it from. There’s no attempt to universalize its setting or smooth out its edges. Instead, Rowlands leans into specificity, trusting that something rooted and real will resonate.
What emerges is not just a story set in Zimbabwe, but one that pulses with its textures and truths. The dusty townships, the natural beauty of Victoria Falls in the background, the sounds and rhythms of daily life—these aren’t just elements of atmosphere; they’re vital to the film’s emotional architecture. “Rise” is the kind of film that feels grown from the ground up, deeply connected to the people and places it depicts.
A Boy Named Rise, and the Man He Calls Coach
The short opens with two different POVs that immediately converge: a boy beaten and bruised, lying in a hospital bed, rescued by a man whom audiences just saw training by himself. Outside, we hear two men speaking, only their feet visible. One accuses the other of teaching young kids violence, to which the other replies, “I teach them discipline.” The film, just 22 minutes long, wastes no time introducing us to the moral tension at its center: what does protection look like when you’re surrounded by systems that offer none?
At the center is the young boy, played with astonishing rawness by newcomer Sikhanyiso Ngwenya. He’s a scrawny, barefoot kid from the dump—literally. Bullied, homeless, and abandoned, he finds an unlikely ally in Tobias, a reclusive boxing coach portrayed by Tongayi Chirisa with the kind of understated gravitas that suggests a man who’s been trying to keep everyone at arm’s length for a long time. Tobias insists he doesn’t know the boy. But the boy calls him “Coach” anyway, with a conviction that chips at Tobias’ resistance. Soon enough, the boy gets a name: Rise.
Learning to Fight for More Than Yourself
In the film’s reality, when you come into this world with no one to fight for you, you learn to fight for yourself. First, for survival; then, for opportunity. Then, for freedom.
“Rise” is that trajectory distilled into a compact, moving story. Rowlands approaches the material with clear-eyed empathy, while depicting the relationship between mentor and mentee without leaning on sentimentality. The dynamic between the reluctant coach and the earnest, immature boy brings to mind the heart of the “Karate Kid” films—a comparison that does “Rise” no disservice. There’s a familiar emotional rhythm here: mentor resisting connection, mentee chasing it anyway. But the film carries its own urgency, grounded in the harsher economic and emotional realities of Zimbabwe.
The training begins with ground rules: no lying, no begging, no street fighting. And as the narrative progresses, we see the evolution in both characters, hinting at something that’s less professional and more familial.
Fighting for Someone Else
Tobias’ character, which Chirisa really nails to a tee, is a strong portrayal of someone who achieves greatness not by beating others, but by choosing to fight for others. That’s where Rowlands lands her hardest punch. It’s not a film about triumph in the ring, but about choosing to show up for someone else, even when you think you have nothing left.
The real-life inspiration behind the film, Tobias Mupfuti, is no abstraction. A former boxer who now runs a boxing academy and orphanage in Victoria Falls, he was closely involved in the making of the film. His presence is felt not just in the character but in the streets and spirit of the film. Rowlands’ camera, guided by Jacques Naudé’s cinematography, lingers on the rust-red terrain and open skies with careful attention. This is the Zimbabwe we rarely see: not stylized or exotic, but lived-in and specific.
On the other hand, the soundscape by Max Uldahl complements the camerawork. Add to this the vocals by Hope Masike and Tawanda Maoneni, and the film benefits from added emotional texture without overstating it. The music—a mix of Zimdancehall, urban grooves, and meditative melodies—blends with the visuals in ways that suggest restlessness and reflection, rather than drama for its own sake.
The Ring, the Dream, and the Glimpse of Freedom
The emotional tension peaks as the coach and boy travel to Harare for a tournament. In the ring, Rise steps in barefoot, dwarfed by his opponent. For a moment, he looks small and unsure. But then he moves, finally throws a punch, and everything clicks. The scene doesn’t overplay its hand; the emotion is earned.
Elsewhere in the film, Rowlands adds a surprising beat: a dream sequence, subtle in placement, where Rise imagines what strength might feel like. It’s a quiet subversion, placed delicately alongside the narrative, and it offers a glimpse of internal transformation without announcing itself loudly. That moment of imagined victory does more than mirror a possible future—it breathes hope into the boy’s reality. But more importantly, for the audience, it becomes a lens of possibility.
Chirisa, known for international roles in “Mayfair Witches” and “Transformers: Rise of the Beasts,” gives one of his more internal performances here. He resists big gestures, playing Tobias with a kind of restraint that feels more honest than theatrical. But it’s Ngwenya who leaves the mark. Discovered through street casting at just eight years old, his performance feels instinctive. You don’t catch him acting. You just believe him.
What ‘Rise’ Leaves Behind
If there’s a minor quibble, it’s that “Rise” feels like it ends just when it could dig even deeper. There’s more to explore—Tobias’ past, the wider implications of boxing as a communal escape, and the lives of the other boys left behind. The film gestures toward those threads, but doesn’t follow them. Should this ever expand into a feature-length film in the future, I’d be there for it.
As a debut, “Rise” is confident, emotionally resonant, and clear in its intent. It doesn’t swing for knock-out levels of grandeur, but it knows exactly what it wants to say, and it says it without stumbling. The film makes history as the first Zimbabwean film to screen at the Tribeca Festival, and while that milestone matters, what lingers most is the quiet persistence of a boy asking someone to stay no matter what happens. And a father figure finally saying yes.
Jessica J. Rowlands’ short film “Rise” will premiere at this year’s Tribeca Festival, which will run from June 4 to 15, 2025. The film makes history as the first Zimbabwean film ever selected, short or feature. Follow us for more coverage.
