sextape of But Na Filet and Congolese Singer Bene Afimiko has been making rounds online. The artist has publicly confirmed the images are real, described himself as a victim of the leak, and apologized for the harm the unauthorized circulation caused.
The private video involving Congolese singer Hugues But na Filet, whose real name is Hugues Makanda, began circulating widely on social media in early September 2026. Congolese outlet Mbote first reported the leak on 7 September, framing it as another case of a public figure’s private life being exposed online.
The artist did not deny the images. In a public statement reported on 9 September, he confirmed they were authentic and rejected the idea that they were AI-generated fakes. He said the footage had been released without his consent and described himself as a victim of that circulation.
He also apologized. According to Mbote, he said: “Je suis une victime dans cette affaire qui fait le tour des réseaux sociaux. Je viens vous demander sincèrement pardon pour ces images qui ont dérangé et choqué. Mais le Dieu qui a créé le ciel et la terre connaît la réalité de cette affaire.” He asked pardon in particular of “the mothers,” and the same report said he addressed apologies to First Lady Denise Nyakeru and Prime Minister Judith Suminwa. Coverage described him as visibly shaken.
The other person named in reporting is Bénédicte Afimiko, also referred to as Béné, a musical collaborator previously described in some coverage as his “fille musicale.” Local reports presented the affair as having moved beyond a private matter because of how quickly the images spread and because they involved public figures and their circles.
The same outlet also listed a follow-up item saying the Commission de Censure had issued a summons in the case. Independent confirmation of that procedural step beyond Mbote’s related-article headline was limited in the reporting reviewed here
But na Filet, born in Kinshasa in 1986, is a rumba and ndombolo singer who came through Fabregas le Métis Noir’s Villa Nova before going solo. He is known for songs such as “Mon choix,” “Tirer,” and later work including the 2025 album Victoire. The leak arrived while he was already a visible voice in Congolese music debates and was preparing new material, including a title called “Tribunal.”
As of 10 September 2026, the public record consists mainly of the leak itself, his confirmation and apology, the naming of his collaborator in news reports, and the social and possible regulatory fallout. There has been no detailed public account from Afimiko in the main reports cited above.
Privacy, leaks, and the impact on Congolese artists
Intimate leaks are not new in African entertainment, but they hit Congolese artists in a particular way. Rumba and ndombolo careers are built on proximity: the singer is a public moral figure, a neighborhood star, a godfather to younger talent, and often a family brand. When a private recording leaves a phone and enters WhatsApp groups, the damage is not only legal. It is social, commercial, and sometimes irreversible.The But na Filet case follows a familiar pattern. A file that was never meant for the public is copied, forwarded, and then treated as content. Within hours it is detached from the people in it and attached to headlines, jokes, moral lectures, and traffic.
The artist then has to speak, not because speaking restores privacy, but because silence is read as guilt or contempt. But na Filet chose confirmation plus apology. That choice matters. Denial is often the first reflex. Admitting the images are real while insisting the publication was non-consensual draws a line between private life and public distribution. Whether audiences accept that line is another question.For Congolese artists, three pressures collide.First, reputation is a working asset. Concerts, TV invitations, church goodwill, brand deals, and the loyalty of “warriors” or neighborhood fans all depend on a readable public image. A leak does not stay in the gossip column.
It follows the artist onto the stage and into family compounds. Women in the industry usually pay a higher price. A male star can sometimes recast the story as weakness, temptation, or victimization. A female collaborator is more often reduced to the leak itself. When the press names a younger collaborator as a “fille musicale,” the power imbalance becomes part of the scandal even if the legal facts are still incomplete.Second, the infrastructure of Congolese digital life makes containment almost impossible. Circulation happens on WhatsApp, Facebook, TikTok mirrors, and unofficial blogs long before any court or censorship body can act. The Commission de Censure may summon people. Platforms may take down a file. Copies remain. Artists in Kinshasa and in the diaspora work in a market where phones are shared, managers change, and private archives are poorly protected. A stolen phone, a bitter aide, a cloud backup, or a single forwarded message can do what a tabloid used to do.
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