Cannes Showcases Africa’s Film Future

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Cinema from Africa has made its mark at Cannes, intent on forging its unique path as investments from major global streaming platforms appear to be dwindling across the continent.

Pioneering the pack is Akinola Davies Jr.’s drama, “My Father’s Shadow“, a standout in Un Certain Regard and making history as the first Nigerian film to be included in Cannes’ main selection. The diverse landscapes of Africa are on display through the lens of the Cameroon-based police thriller, “Indomptables“, directed by Thomas Ngijol, which is part of this year’s Directors’ Fortnight offerings.

The eagerly awaited Nigerian historical fantasy titled “Osamede” will make its world debut at the festival, specifically at the Marché du Film’s Pavillon Afriques on May 17th. Its creators are confident that the film conveys a message that Africa as a whole wishes to communicate: the continent remains open for commercial opportunities.

During the surge of streaming services due to the pandemic, established studios like Netflix were competing to increase subscribers. Africa, with its large youth population and high population density, was often highlighted as a lucrative market for growth. However, after the reassessment of streaming post-pandemic, when revenue per user became the primary focus on Wall Street for evaluating success (as opposed to just expanding subscriber numbers), U.S. studios and platforms have been discussing their plans for original African content less frequently.

As a storyteller hailing from Nigeria, I’m James Omokwe, the director at Osamede. Authentic African narratives are what we yearn to share, not just for local audiences. Cannes is our chosen platform, an international stage where we can showcase our work – a glimpse into Africa’s creative landscape and our initial steps beyond the aftermath of the streaming investment slowdown.

Amidst the historical backdrop of the 1897 British invasion of the Benin Kingdom, the film Osamede narrates the journey of an orphan girl who discovers extraordinary abilities. The creators envision this as a unique blend of genres, combining elements of mythology, magic, and resistance. This stage-to-screen project is spearheaded by Lilian Olubi’s Gold Lilies Productions, and it has been secured for distribution within the country and region by Nile Entertainment. The decision to debut the film at Cannes aims to expose it to a broader, international audience.

Initially, we were considering handing over the movie to streaming platforms – a straightforward approach, according to Omokwe. However, due to unforeseen circumstances, we’ve had to find alternative methods for distribution. Now, it feels like starting from scratch, coming up with innovative ideas for distribution and monetization since there isn’t a traditional value chain in place. We’re all just doing our best to navigate this new situation.

Amazon Prime’s choice a year ago to halt operations across Africa created ripples throughout the continent’s creative industries. This action reduced investment in original content and slowed down the pace of mergers and acquisitions within the sector. Several industry experts, who prefer anonymity for fear of compromising their relationships and future prospects, suggested that Netflix might also be reducing its investments in the region. However, despite this speculation, it’s important to note that Netflix is still investing more in African content compared to its competitors.

Netflix’s African offerings feature fresh seasons of hit series like “Kings of Jo’Burg” (season three) and “Fatal Seduction” (season two). Additionally, they have a long-term collaboration with the Johannesburg production house Burnt Onion, which produced the show “Seriously Single”.

Previously, during the Joburg Film Festival in March, Netflix’s Vice President for Content in the Middle East and Africa, Ben Amadasun, continued to express optimism regarding Netflix’s potential success in this area.

At the gathering, Amadasun expressed that African tales have demonstrated remarkable strength and influence, not only within the continent but globally as well. “There’s a universal appetite for genuine, daring, and innovative African narratives,” he noted. “Netflix is dedicated to making sure these stories connect with and captivate countless entertainment enthusiasts worldwide.” Amadasun outlined their strategy: “We aim to back exceptional African artists, work alongside brilliant local innovators, and keep pushing the boundaries of what can be achieved in African storytelling.

To put it simply, the future for this region seems quite hopeful on the surface. Notable figures have shown interest, with Idris Elba, a British actor known for shows like “The Wire” and “Luther”, revealing intentions to establish studios across the region, initially in Tanzania and Zanzibar. Elba, who is of Sierra Leonean and Ghanaian descent, pointed towards the success of South Korean content as a model for what Africa could potentially accomplish. He voiced his disappointment to CNN at the Stellar Development Foundation’s Meridian conference in London that most African-themed content isn’t produced within Africa itself.

Elba remarked that the average age in Africa is 19, and these young individuals are hopeful and worthy of sharing their unique perspectives. UNESCO forecasts that Africa’s film and multimedia sector could generate around 20 million jobs and contribute approximately $20 billion to the continent’s economy by 2030.

Mo Abudu, a media tycoon based in Lagos and founder of EbonyLife Group, recognizes the opportunities ahead – the chance for African content and talent to broaden its international impact. “I’m thrilled about the necessity of establishing our own channels for distribution, as well as networks,” she states. “We need innovative solutions for funding our own productions. I am enthusiastic about developing an ecosystem that encompasses funding, distribution, and production.

By the year’s end, we’re establishing a $50 million fund for African movie creators to tap into. We’re considering budget proposals ranging from $2 million to $8 million. I’m thrilled that we’re currently in discussions with a major global distributor who could potentially be our distribution partner. After all, it’s essential to produce a film and ensure its global reach, which we don’t have the infrastructure for at present.

Beyond nurturing a new wave of talent via her company’s EbonyLife Creative Academy and broadening the reach of EbonyLife TV, Abudu has also collaborated with Netflix on the critically-acclaimed show Blood Sisters. She’s nearly ready to debut a 180-seat EbonyLife Place London entertainment hub located on Wandsworth Road, which will serve as a platform for displaying African cinema, theater, music, cuisine, art, and fashion in the heart of the British capital.

According to Abudu, we’re planning to debut our very own Over-The-Top (OTT) platform, EbonyLife ON. We’ll begin modestly, gradually expanding, but I firmly believe that taking those initial steps is crucial. It’s better to start now and gather some traction rather than continuing to wait for others to take the lead.

Collaborative productions remain a significant catalyst for investment and expansion within the African film industry. For instance, the movie “My Father’s Shadow”, featuring Sope Dìrísù and focusing on a family gathering during the 1993 Nigerian presidential election, was jointly produced by Element Pictures (based in the U.K. and Ireland) along with Nigeria’s Fatherland Productions. Funding has also been provided by BBC Film and the British Film Institute, while international distribution is being managed by The Match Factory, a company based in Germany.

Sarika Hemi Lakhani has been working in various African countries for 18 years with One Fine Day Films based in Kenya (known for ‘Nairobi Half-Life’). Recently, she relocated to Berlin to work with Tom Tykwer’s X Filme Creative Pool. Her vision moving forward involves negotiating co-production agreements that will allow for a balance of creative control between the financial backers outside Africa and the talented creatives from the region.

She points out that there are countless untold tales across the African continent. This, she suggests, also implies a wealth of undiscovered chances.

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2025-05-16 12:25