In recent years, African films have gained well deserved recognition at the most prestigious international film festivals. There was a time when festivals like Sundance, Toronto International Film Festival (TIFF), and Tribeca Film Festival predominantly showcased Western productions, but the tides have changed. These festivals are now embracing a rich tapestry of narratives and talents from the African continent, signifying a remarkable turning point in the world of cinema, as African filmmakers receive their long-overdue spotlight on the global stage.

At the heart of this burgeoning success is a new generation of African filmmakers who have unleashed their creativity, ingenuity, and cultural perspectives to captivate audiences worldwide. From Kenya to Nigeria, Ghana to South Africa, and beyond, these filmmakers have woven tales that are both unique and universally resonant. Their films celebrate diverse identities, explore poignant social issues, and offer glimpses into African traditions, all while challenging outdated stereotypes and tropes.

Sundance, once a haven for independent American cinema, has now become a melting pot of global talent with African films capturing the attention of audiences and industry professionals alike. This year, several African films received critical acclaim at the Utah-based festival including CJ Obasi’s Mami Wata and Sofia Alaoui’s Animalia, two films that won jury prizes at the festival.

African films are increasingly finding their place in this cinematic haven, capturing the attention of audiences and industry professionals alike. One such personal essay film, Milisuthando by South African director Milisuthando Bongela, left a profound impact at Sundance with its evocative storytelling of the apartheid regime in South Africa and negotiating the complex world against the backdrop of post-apartheid South Africa. 

For Love Nafi, a DMV-based native, African entertainment as a whole, is getting its just recognition, although there are still some challenges.

“Similar to Africa’s takeover of music, African cinema has definitely permeated the global stage and I feel that there’s a budding amount of exceptional films gaining traction and being recognized at major film festivals,” Love Nafi said. “However, equity and representation within these mediums can sometimes still remain an issue. While African films are being included, all of our stories aren’t necessarily being amplified in comparison to our counterparts. As a whole, I think it’s important for Africa to continue to find ways to create its own stage.”

The Toronto International Film Festival (TIFF) has also embraced the richness of African cinema. In the festival’s Africa Hub, an exclusive platform dedicated to African films, vibrant voices from the continent resonate across the world, and festival goers this year will have the opportunity of seeing many of such films by talented African filmmakers, including I Do Not Come to You By Chance, executive produced by Nigerian veteran actress and producer, Genevive Nnaji.

Tribeca, nestled in the vibrant heart of New York City, has also embraced the renaissance of African cinema. The festival has demonstrated its commitment to showcasing the diversity of African stories, be they tales of urban life, ancient folklore, or historical events. Nigerian Prince by Nigerian director Faraday Okoro stunned Tribeca audiences with its portrayal of a troubled American teenager Eze, who is sent away to his mother’s native Nigeria against his will, and gets entangled in a web of criminal activity. Okoro’s masterful direction, combined with a compelling screenplay, unraveled the temptations and showcased his grip on artistic direction.

The rise of African cinema has not occurred in isolation but as a result of concerted efforts from both filmmakers and festival organizers.

Uwe Boll, a German filmmaker, who has become renowned for his adaptations of video game franchises says that Africa is gaining a grip. “This year, at Cannes it was all about Africa, one of the most discussed and hyped continents. More than five films ran at the festival and in the market even more — which is fantastic,” he said.

Four Daughters, crafted by the visionary Tunisian director Kaouther Ben Hania — renowned for The Man Who Sold His Skin, along with Banel & Adama, the remarkable inaugural work by Senegalese-French filmmaker Ramata-Toulaye Sy, formed an intriguing cinematic pair at the festival this year.

Boll also added that countries in the Middle East, such as Morocco and Tunisia, have been long-time active locations for various big Hollywood productions. “Movies like Mission Impossible or Gladiator have utilized several Middle Eastern locations to shoot, and recently, significant investment funds have been entering the scene, contributing millions of dollars to co-produce films.”

Another catalyst for the recognition of African films has been the growing demand for diverse narratives in the global film industry. Audiences hungry for fresh perspectives and untold stories have welcomed African films with open arms, eager to be transported to new worlds and immersed in rich cultural experiences. This demand has prompted film distributors and streaming platforms to acquire more African films, extending their reach to viewers across the globe. In 2022, Netflix and UNESCO collaborated on an African Folktales competition, which was a chance of a lifetime for rising Sub-Saharan African filmmakers and storytellers to breathe new life into ancient tales, flaunting their brilliance to the world in their very own languages by seizing the moment, rewriting the narrative, and embracing the global stage.

There’s also the co-productions between African filmmakers and global partners helping to bridge the gap and unravel African cinema to wider audiences. Elesin Oba, The King’s Horseman, a historical drama was co-produced by Ebonylife Films and Netflix. In 2022, it was selected for screening at TIFF and now streams globally on Netflix.

In spite of the resurgence of African films and the support African governments and institutions provide to local film industries — a UNESCO study shows that merely 19 out of 54 African countries provide financial support to filmmakers — there is still a long way to go in terms of funding and support, especially when many filmmakers across the continent encounter obstacles such as restrictions while filming.

Chrissy Collins, the Chief Communication Officer for Pan African Chamber of Commerce also agrees that there is still a long way to go.

“It’s a powerful step towards breaking stereotypes and fostering a deeper understanding of African cultures. However, we still have a long way to go and we must continue to support and uplift African filmmakers to ensure this progress is sustained and amplified,” Collins said. “This way, we can break the stero-typical films that Hollywood creates based on an americanized view of Africa.”

Beyond the immediate success at international festivals, the rise of African cinema has ignited a collective sense of pride and hope within the African film community. As a result of this newfound recognition, a new generation of filmmakers have been empowered to tell their stories. This cultural renaissance has sparked a virtuous cycle, nurturing a vibrant ecosystem that fosters creativity, innovation, and artistic expression across the continent.

According to Nataleah Hunter-Young, an International Programmer at the Toronto International Film Festival (TIFF), African cinema has long been celebrated under the franchise.

“TIFF has had a long and unique history of spotlighting African cinema, so for us, the African presence isn’t new. We celebrated 25 years of that presence in 2020 with ‘Planet Africa 25’ screenings, panels and parties, much of which is documented online, but as the African industries on the continent grow, so too does their presence at the Festival, and that growth is reflected in the strength and creative breadth of the productions in each year’s Official Selection,” she said.

The entertainment landscape is evolving, and with that comes the increased demand for African stories. “What has changed, from a global perspective, might be the audience demand for African content and as a result, African creators are receiving more and more attention from European and North American industry stakeholders, particularly from streamers which is still the easiest way for North American audiences to watch African productions,” Hunter-Young added.

In spite of the expansion of the streaming era, Hunter-Young believes that streamers alone can’t dictate industry growth, so festivals will continue to play a major role in audience development and in pushing industry expectations. 

The recognition of African films at these international festivals is not merely a matter of tokenism; it reflects a growing awareness of the exceptional talent emanating from the continent. Gone are the days when African cinema was limited to niche audiences or considered exotic novelties. Today, these films transcend cultural boundaries, resonating with viewers from all walks of life, igniting empathy, and fostering cross-cultural curiosity.

Nollywood made its Essence Film Festival debut last month with “Nigeria Day.” Made possible by Toyosi Etim-Effiong, founder and CEO of That Good Media, the partnership is devoted to the movers and shakers of the Nigerian film industry.

“We screened a Nigerian film last year at the festival, but I saw a huge gap there,” Toyosi Etim-Effiong tells STATEMENT. “So we went back and said, ‘if you’re organizing a Black film festival, are you sure it’s Black or simply African American? Because if it’s Black, then Nollywood has to be included; after all, we’re Black too, the most populous nation of our race, and have the second largest film industry in terms of output, so that must count for something… And they were open to it this year. It grew from screening a film to having our own day.”

The Essence Film Festival, which ran from June 29 to July 3, showcased films from South Africa, Ghana, and other African countries.

Toyosi Etim-Effiong spoke to STATEMENT about partnering with Essence, and showcasing Nollywood in New Orleans.

How long have you been working on the partnership with Essence?

So we facilitated the screening of a Nollywood film last year, the first ever at the film festival, and there was a panel with Nollywood players, and that has now progressed into an actual Nigeria day where we have a full day for content and conversations around Nigerian film and TV. So yes, it’s year one.

You’ve worked in media for a while, taking up different roles in different organizations. What has that been like for you?

It’s been an interesting and aggressive journey, and the house is being built brick upon brick. I enjoyed working at Folio, and some of the other roles that I’ve taken. Some have been projects, not full time jobs, and have led to this point. I now run my company ‘That Good Media’ and we’re in partnership with Essence for the first ever Nigeria Day, which has been interesting. Not hitch free, but an interesting and progressive journey.

What do you mean when you say ‘Not hitch free’?

I mean, I’ve had challenges. I’ve had to deal with things that I’d rather not have dealt with. There have been money shortages on projects, issues with people that are not aligned with the vision, and things like that that have been problematic, but also contributed to my  growth as an individual and also my progress in the journey.

Now that the vision of having a ‘Nigeria Day’ is happening, what are some of your goals for it?

My goal for the day really is to secure strategic collaborations and partnerships. I hope that people come from all over The United States, Africa, and they connect with our talents — filmmakers, directors, producers — and decide they want to partner. You know, I’m working on setting up for key attendees like production studios to have meetings with local studios as well. 

Besides the Essence Film Festival Activation [ the ‘Nigeria Day’] we’re also meeting with Film New Orleans. Now, Film New Orleans is the film board of New Orleans, linked or attached to the mayor of New Orleans’ office. And so they’re going to be hosting us for a cocktail reception and a forum, which is to get us acquainted with how things work in New Orleans for those who want to end up going to film there because they realize a lot of Nigerians tend to film in Atlanta, maybe Houston or New York, but nobody’s really giving much thought to New Orleans. But that’s about to change because New Orleans is such a rich and culturally vibrant place, and having the film board decide to host us along with other local production companies and local producers so that there can be an interaction and exchange of ideas is huge. It’s what I’m hoping will lead to big projects and more recognition for Nollywood.

From the Essence Film Festival to meeting the New Orleans Film Board, what do you think this looks like for the future of Nollywood?

It’s started already. If Afrobeats can do it, then Nollywood can too because they are from the same father and mother, and we refuse for Nollywood to be the child that doesn’t make it. We’ve seen how these music collaborations have helped the Afrobeats space and we’re hoping the same would apply to the film industry by the time Tyler Perry decides to partner with EbonyLife for example or Oprah Winfrey Network decides to partner with the Filmone or Inkblot or any of our major guys doing major things here. It will definitely have ripple effects that will positively affect the Nigerian film industry.

Okay. So away from the Film Festival, what’s something you and your team are currently working on?

We [That Good Media] run a talent management division, so we are constantly looking for the best opportunities for our talent, and positioning them well, not just for local gigs and local collaborations with brands, but with international brands as well. So the Talent management Division is one that is growing and we’re working a lot on. What else are we working on? We’re also working on securing more collaborations and partnerships like the one we have with Essence. It would be great to do this with other major platforms. It will also be great to do this across the United States and even the rest of the world. So it’s all about partnership. It’s all about cultural exchange to improve what is currently the norm.

You worked in bringing people from Hollywood to the 2022 AMVCA. What other plans like this do you have in the future?

You know, the thing I say is ‘my network becomes your network.’ So the more I build my network, the more I build a network for Nollywood, and there are other people doing the same thing as well. So again, I’m not coming here as a savior or to rescue a broken system. It’s just my contribution to an industry that has been in existence for a long time, is doing relatively well, and can do much better. I’ve seen gaps that I’m trying to fill. And so in terms of, um, getting people on board to the AMVCA’S, AMAA’s, or anything really that requires the presence of Hollywood, I am ready and available to provide my services.

Right. What has the reception been like from people in the industry?

Oh, that’s a loaded question. For someone who is doing this for the very first time on this scale, of course, there’s been some caution. People are like, “hmm, what is she up to? What is she doing?” So there’s that. But there are also people that are like, “this is great. We know of Essence, and love that you have been able to secure a partnership with a brand like them, which is fantastic and we want to support you. And whichever way it goes, it’s good for the industry.” So I’m happy with the reception that we’ve gotten so far, especially from the press, and I want to say thank you again for actually talking to me about this partnership.