In the glittering world of international film festivals, being selected for prestigious events like Venice or Toronto is often seen as a major milestone. For many African filmmakers, this acceptance seems to signal their arrival on the global stage, a sign that they have “made it.” But this perception is deeply flawed, and the journey to true recognition is far more complex than a festival invitation.
African filmmakers who find their work selected for major festivals often discover that acceptance is only the beginning of a much longer, more arduous process. While their films may now enjoy a brief spotlight, this moment is fleeting, and without the right strategy, it can fade into obscurity. The festival circuit, though exciting, is not a guarantee of sustained success or visibility. What comes after the screening—the real work of media engagement, promotion, and networking—can make all the difference between lasting impact and being overlooked.
There is a significant disconnect between African filmmakers and the international press that covers these events. The filmmakers, often basking in the initial excitement of being included, sometimes fail to realize that visibility doesn’t come automatically with selection. On the other hand, the press, with its own limitations and biases, may not always provide the coverage that African cinema deserves, leaving filmmakers frustrated by their lack of attention. It is a two-sided problem that highlights a need for more proactive efforts from both sides.
For African filmmakers, attending international festivals is a golden opportunity—but it comes with immense pressure to make the most of it. Film festival success requires more than just having a film screened. It demands smart, strategic thinking about how to navigate the festival landscape and engage the media effectively. Without this, the filmmaker risks missing out on the crucial visibility that can lead to distribution deals, broader audience reach, and long-term recognition.
One of the central challenges lies in the missed opportunities for press coverage. Tambay Obenson, a consultant and strategist for the African film industry, pointed out that African filmmakers sometimes complain about being ignored by the international press, while at the same time, they neglect the platforms and journalists that are there specifically to cover African cinema. This creates a frustrating paradox: filmmakers are hungry for coverage, but not always taking the necessary steps to engage with the media that is available.
Part of the problem is structural. The international press at these festivals often focuses on the biggest stars and directors, leaving lesser-known, independent filmmakers to scramble for attention. African filmmakers, who are already working against the tide of limited resources and often marginal representation, face an uphill battle in standing out. Without deliberate and aggressive media engagement, they can easily be overshadowed by the bigger names dominating festival headlines.
But the responsibility doesn’t fall solely on the filmmakers. The press covering these events also needs to step up. International media outlets should recognize the importance of African cinema and make an effort to highlight its diverse stories and filmmakers. Too often, the coverage of African films is relegated to niche platforms, rather than being integrated into mainstream film journalism. This lack of attention only perpetuates the cycle of underrepresentation.
The gap between African filmmakers and the international press points to a deeper issue within the festival ecosystem: the tendency to view selection as an endpoint, rather than the beginning of a broader campaign for visibility and recognition. For African cinema to truly thrive on the world stage, this misconception needs to be dismantled.
Strategic media engagement must become a priority for African filmmakers who are serious about breaking into the global market. Building relationships with the press, crafting compelling narratives around their films, and ensuring that they are actively participating in the festival’s media opportunities are all essential steps. For their part, international media must broaden their scope and commit to giving African filmmakers the attention they deserve, elevating their voices within the global cinematic conversation.
As Obenson wisely notes, festivals are an incredible opportunity, but they are only one piece of the puzzle. African filmmakers must not only get their films into these festivals—they must make sure that the world is watching when they do. The misconception of “making it” with festival selection must give way to a new understanding: that true success in the film industry is built through sustained effort, strategic thinking, and an ongoing commitment to media visibility.
The international film landscape is evolving, and African filmmakers are playing an increasingly important role in shaping global cinema. But for their stories to resonate beyond the festival circuit, the struggle for recognition must be met with both strategic engagement and a collective push from the industry and the media alike. Only then will African cinema find its rightful place on the global stage.