The Gentle Storm of Ethiopia’s Thrillers Remains Optimistic About the Film Industry

By Mintesinot Nigussie
Published on 10/20/25

Nebyou Indris, known for his work in crime thrillers, has quickly become one of Ethiopia’s most compelling actors. Raised in Jigjiga, he was a promising soccer player before studying mechanical engineering at Adama Science and Technology University, where he also worked as a brand ambassador. His debut film, Tefetari, had him directing alongside the legendary international actor Debebe Eshetu, setting the tone for a career defined by ambition and discipline.

He has since appeared in 6 Seat Kelelitu, Janamora, and Tikur Adey, solidifying his reputation in thrillers while exploring a hint of romance in the latter. As he sat down with FSX Business, Indris opened up about his journey, the hurdles facing the Ethiopian film industry, and his aspirations for shaping the next generation of storytellers.

What made you switch to acting? I know you used to be a big soccer player.

I always saw myself as a soccer player, but theatre was part of my life too. In high school, I acted in a club called Peace and Justice and loved it. Breaking into the Ethiopian film industry was tough back then.

After missing out on the national soccer team, I focused on my studies at Adama Science and Technology University. There, I was cast as a photo model for the Commercial Bank of Ethiopia and later worked as a brand ambassador for three companies—without appearing in a movie. By my fifth year, my friends and I, including my wife, decided to take the leap and make my first film: Tefetari.

As one of the writers and directors of Tefetari, can you tell me what went on behind the scenes?

Breaking into the Ethiopian film industry at that time was no easy feat. Pre-production alone took over a year, largely due to financial constraints—we were trying to secure funding in kind. Fortunately, Adama Science and Technology University stepped in, providing crucial support and facilities that helped bring Tefetari to life.

Looking back at your first role in Tefetari, how would you describe your growth and evolution as an actor since then?

Experience and self-dedication matter everywhere. As an actor, you grow by exploring a wide range of characters, and that growth deepens when you truly love the craft. You notice the changes in yourself over time—like when you look back at your older photos.

That said, it’s always a little frustrating when a film is released years after it was shot. Subtle changes, things audiences might not notice, stand out to us actors, and you can’t help but see what could have been different.

Which film pushed you the most—emotionally, physically, or in terms of performance—and why?

I haven’t yet taken on a role that truly challenged me, at least not personally. But that’s about to change. In just 15 days, we begin shooting a new film, and I’m completely consumed by it. The character’s behaviour is unlike anything I’ve portrayed before, and I can already feel how much it’s going to test my skills and push me as an actor.

You’re widely recognized for your roles in crime thrillers. Do you see yourself branching out into different genres, or do you plan to stay within this niche?

I’m particularly drawn to psychological thrillers and crime investigative films. I look for characters that challenge me, not just through dialogue that audiences notice, but in ways that push me to explore the character’s inner world. These are what I call subtext-driven films, where the real story lives beneath the dialogue—in the choices, emotions, and unspoken motivations of the characters.

In simpler terms, it’s like when a character says one thing, but their actions or expressions tell a different story—like a detective calmly questioning a suspect while revealing far more through subtle glances and pauses. That’s the kind of depth I want to explore as an actor.

You’ve successfully turned your name into a recognized brand. How deliberate was that process, and what key decisions or habits contributed most to your success?

When you consistently meet the standards of your work and maintain discipline, you naturally attract the people and opportunities you hoped for—and sometimes even those you didn’t expect. I wouldn’t say I built my brand intentionally; it’s more a byproduct of the choices I’ve made as an actor: staying fit, committing fully to my craft, inspiring aspiring actors, sharing vlogs to motivate others, and remaining visible for those who might need me professionally.

I’m also mindful about my diet and lifestyle because longevity matters. For me, the goal has always been to be a durable actor—and that process is far from easy.

You’ve recently branched out into business with a barber shop and a furniture store. What inspired that step, and how do you balance these ventures with your acting career?

Even early in my career, I earned income as a brand ambassador for international and local companies, sometimes in foreign currency. But relying on acting alone—or just saving—wasn’t enough to sustain a family. I couldn’t imagine stepping away from the craft I love, so I started looking for ventures that could provide financial stability without tying me down.

That’s when I saw a friend, a banker, running a barber shop and realized it was a smart model: sustainable, low-maintenance, and flexible.

I heard you’re a big fan of Tom Cruise. What stands out to you about him?

Cruise is a method actor who pushes beyond the usual boundaries, performing his own dangerous stunts. He also has an impressive grasp of the technical side of filmmaking—how cameras and lenses work—which shows how deeply he studies his craft. On top of that, he’s incredibly fit and doesn’t show his age.

All of that is hugely inspiring to me. Many actors stick strictly to the director’s instructions and the script, and most of us hesitate to take risks—but Cruise performs stunts that could put his life in danger.

You had the chance to work with the late Debebe Eshetu, a legendary figure in Ethiopian cinema, during your first film Tefetari. What was that experience like for you, and how do you remember him?

It’s hard to put into words what I learned from him. Working with Debebe Eshetu at the start of my career was more than an honour—it was a turning point. He always reminded us that talent alone isn’t enough; loyalty to the craft and discipline are what define an actor.

There’s also a personal favour he did for me, something deeply meaningful, and I’ve always wished I could have honoured him while he was still with us. In a country where such traditions of honouring artists aren’t yet common, I still want to do it in my own way—through a special ceremony in the presence of respected film professionals.

He also shaped how I see my role today: sharing my experiences with young people and passing on what I’ve learned, just as he once did for me.

How is the Ethiopian film industry navigating the rise of artificial intelligence and the growing influence of social media on audiences’ appetite for longer films?

I see AI as a real advantage for the industry, particularly in reducing the time and cost of producing visual effects. Yet no AI-generated film can replicate the atmosphere, emotion, and subtle nuances of a traditional movie. The real challenge is figuring out how to use these tools effectively—enhancing storytelling while preserving the human touch that gives cinema its depth and soul.

When it comes to social media, there’s a perception that audiences are shifting toward short-form content at the expense of traditional films. But the data tells a different story. Michael B. Jordan’s recent release, Sinners, drew massive box office numbers, demonstrating that audiences still flock to well-crafted, long-format cinema.

Its director, Ryan Coogler, achieved record-breaking revenue with that film—even amid the virality of TikTok and other platforms.

We see similar trends in Ethiopia. 6 Seat Kelelitu (12:00 AM) racked up over a million views in less than a day. While audience attention spans may be shifting, one thing is clear: when you have golden content, no platform or trend can shake it.

After a decade of silence in Ethiopia’s thriller scene, you and your team revived the genre, giving the industry a pulse of suspense and intensity it hadn’t seen in years. How did audiences respond, and what caused the genre’s slowdown?

We’re preparing to release what is being hailed as Ethiopia’s first survival film next month, starring acclaimed actor Girum Ermias alongside a strong ensemble cast. The film centres on the disappearance of a man trapped deep inside a gold mining pit—a tense and emotional story that explores the limits of human resilience and the haunting realities of isolation.

If you were advising a creative writer with a deep love and knowledge of film, what would you tell them about commercialising their work while staying true to their vision?

You have to approach professionals with confidence and boldness. From my experience, seasoned actors—like the international actor Debebe Eshetu and others—never refused to work with us, even when we were directing them for the first time. They were willing to read the script and engage fully.

Beyond that, it’s crucial to organise your days and priorities around the people you want to connect with, ensuring your efforts are intentional and goal-driven.

How would you pitch the Ethiopian film industry to investors, both in the diaspora and locally, as a profitable opportunity?

We actors used to overlook where our work was being sold, focusing mainly on cinema distribution. But today, technology offers us new ways to generate income. The truth is, the less revenue a film earns, the harder it becomes to sustain creativity and quality in production.

The challenge now isn’t only about finding producers—it’s also about helping those producers recover their investment through effective marketing and distribution. I encourage investors to focus more on the streaming market rather than only on production. The revenue potential is massive.

Take TeleTV, for instance: if a single film attracts one million views in a month, at 100 birr per view, that’s about 100 million birr in revenue.

Imagine you’re directing your own biopic—who would play you?

I’d cast someone unfamiliar to audiences. If I chose a well-known actor, there could be a conflict between my character and the roles they’re already known for, which might distract from the story I want to tell.