The Kenyan Finns

What would happen if you made a film about a key figure in Finnish history and cast Kenyan actors in the lead roles?

The Kenyan actor, Telley Savalas Oteinno, who plays Finnish national hero, Carl Gustaf Mannerheim, in the film "The Marshall of Finland" (still from the film).

The film, “The Marshal of Finland,” about Carl Gustaf Mannerheim, the country’s first post-World War II president and national icon, has left Finns divided. At the heart of the “debate” is not his his war record (he led Finnish forces, alongside the Nazis, in an invasion of the Soviet Union), but the fact that the  film was shot in Kenya with an entirely Kenyan cast playing the Finnish roles.

The production was a collaboration between the Finnish public broadcaster YLE who forked out the money for it, a Kenyan production team (including actors, director and writers) who largely created the film, and an Estonian production company which has been in charge of the intercontinental link up.

‘The Marshal of Finland’ is described as “combining traditions of African storytelling and biographical elements of Mannerheim.” The actors speak Swahili and some brief English. Most of the production crew were Kenyan; the director is a Kenyan, Gilbert Lukalia. Much of the negative reaction to the film in Finland, disguised as questions about costs to the tax payer, really revolved around black actors playing Mannerheim and his wife and mistress.

Finnish nationalists also felt insulted that a national hero was played by non-Finns. Finnish media made much of the fact that “a dark-skinned actor” played Mannerheim. The lead actor, by the wau, goes by Telley Savalas Oteinno. The Finnish producer has received death threats.

Here‘s the trailer.

The film was aired on Finnish TV last month.

The whole media circus that  followed in Finland – mainly the work of the country’s tabloids newspapers – has created this unquestioned and inaccurate image of a nation feeling insulted, all based on anecdotal evidence, i.e. online comments in story threads. Examples: “How can we waste money on such?!” or “Our license fees go to some foreigners.”

The film is still available online, so you can watch and judge it for yourself — if you’re fluent in Finnish (for the subtitles) or Swahili. Here.

Further Reading

Who deserves the city?

Colonial urbanism cast African neighborhoods as chaotic, unplanned, and undesirable. In postcolonial Dar es Salaam, that legacy still shapes who builds, who belongs, and what the middle class fears the city becoming.

Djinns in Berlin

At the 13th Berlin Biennale, works from Zambia and beyond summon unseen forces to ask whether solidarity can withstand the gaze of surveillance.

Colonize then, deport now

Trump’s deportation regime revives a colonial blueprint first drafted by the American Colonization Society, when Black lives were exiled to Africa to safeguard a white republic.

On Safari

On our annual publishing break, Gaza’s genocide continues to unfold in real time yet slips from public grasp. This is not just a crisis of politics, but of how reality is mediated—and why we must build spaces where meaning can still take root.

The battle over the frame

As Hollywood recycles pro-war propaganda for Gen Z, Youssef Chahine’s ‘Djamila, the Algerian’ reminds us that anti-colonial cinema once turned imperial film language against its makers—and still can.

Fictions of freedom

K. Sello Duiker’s ‘The Quiet Violence of Dreams’ still haunts Cape Town, a city whose beauty masks its brutal exclusions. Two decades later, in the shadow of Amazon’s new development, its truths are more urgent than ever.

When things fall apart

Against a backdrop of global collapse, one exhibition used Chinua Achebe’s classic to hold space for voices from the Global South—and asked who gets to imagine the future.

The General sleeps

As former Nigerian president Muhammadu Buhari’s death is mourned with official reverence, a generation remembers the eight years that drove them out.