Many have written about the success of international cinema in English-language spaces recently, but one region is still underserved in terms of attention: Africa.
In this article, we will look at recent film industry developments across various parts of Africa. As well as how the UK has responded to this rise, and how it impacts both audiences and filmmakers.
Africa’s Film Boom
Over the past few decades, the film industries of various African countries have become more prominent. Both locally and on the world stage. Nigeria is recognised as being one of the world’s biggest film industries. With reports saying production numbers are around 2500 films a year. Senegal has seen a revival in international cinematic attention thanks to the work of filmmakers like Mati Diop. Ghana is seeing around 600 films completed each year. Other countries, like South Africa, have thriving film production sectors, while Kenya, Tanzania, Uganda and more have their own unique cinematic footprint. Producing hundreds of local films a year. UNESCO said in 2022 that filmmaking accounts for around $5 billion of GDP across the continent.
The cinema of various African countries has also been prominently spotlighted to English-speaking audiences, thanks to things like Netflix’s investment in and distribution of films from across the continent, high-profile companies like A24 providing distribution deals for certain releases and big film festivals giving space for the work of African filmmakers from various countries. So with so many films being made and so much attention being paid to the continent’s films, why is it still hard for UK audiences to see them?
The UK & African Film
Around 2.9% of the UK population identifies as African in some way. International cinema has also continued to prove itself at the UK box office in recent years. It therefore seems odd that more stories made by various African countries are not widely screened across the country. Additionally, although films made across Africa have a presence on UK streaming sites, the selection is often limited. Popular services like BBC iPlayer, All4 and ITVX either make titles hard to find or have little to no titles at all.
Critics have noted that the reason for this is the entrenched racism of Western film industries. As seen in the UK, this can manifest in many ways. Some distributors won’t show films produced in Africa at all, whether conscious or not, the result is the same. Exhibitors can also limit screenings of African films to only a few titles. Contributing to a flattened image of Africa rather than showcasing the continent’s diversity. Additionally, many distributors often select films that play well to a global audience to maximise profit. Meaning cultural specificity is lost. This can also result in filmmakers reducing a film’s cultural identity to appeal to distributors.
All this results in a limited number of films made throughout Africa reaching potential audiences in the UK. This leads to African filmmakers and diaspora audiences being isolated from the industry, with filmmakers not allowed to assert their identity as part of the global community, and diaspora audiences are unable to connect with stories related to their culture and history. To say nothing of the harm that can arise when cultures are misunderstood and misrepresented.
More Must Be Done
Considering that, according to people like Carmen Thompson of Aya Films, “the demand is definitely there and the content is being made,” more needs to be done to pressure distributors and exhibitors to show films made in Africa to diaspora audiences in the UK.
However, if this era of rising awareness has taught us anything, it’s that media corporations and UK exhibition structures can’t be trusted to make this change on their own. To ensure fairer showcasing of films made in Africa, cooperation rather than profit needs to be the central motivating factor. Many community-led initiatives have been bringing films from Africa to the diaspora and beyond for years. Support for these initiatives and new ones that prioritise the development and distribution of African films must be intensified to showcase the reach these films have. At the same time, power must be kept with the filmmakers to allow their stories to be told how they want.
