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What Trends Will Drive Africa’s Film Industry in 2025?

What Trends Will Drive Africa’s Film Industry in 2025?

Africa’s Film Industry

As a result of increased pan-African co-productions, the African film industry is poised to witness a significant surge in regional theatrical releases. 

By Afrocritik’s Film Board

African cinema demonstrated remarkable resilience in 2024, overcoming significant funding and distribution challenges to achieve notable successes. Despite persistent funding and distribution hurdles, with major streaming platforms like Netflix and Amazon Prime Video tightening their licensing budgets, the continent’s filmmakers still managed to shine on the global stage.

Notably, films such as Dahomey (Senegal) and Searching for Amani (Kenya) made impressive festival runs, premiering at the Berlin International Film Festival (Berlinale) and the Tribeca Film Festival, respectively. 

Both films earned accolades at these festivals, with Dahomey clinching the prestigious “Golden Bear Award” and Searching for Amani winning the “Albert Maysles Award for Best New Documentary Director” for Aroko and Gormley. 

Films like On Becoming A Guinea Fowl (Zambia) and Soundtrack to a Coup D’etat (Congo) won the “Un Certain Regard Best Director” (Cannes) and “Special Jury Award for Cinematic Innovation” (Sundance) respectively. 

Furthermore, films like Everybody Loves Jenifa (Nigeria) broke box office records, becoming the highest grossing film in West Africa. 

As the industry looks to build on this momentum, there is every potential for growth, but what will drive this growth, and how will the industry evolve in 2025? What new trends, technologies, and talents will emerge, and how will they shape the future of African cinema? 

More Cinema Releases And Festival Runs

The film festival circuit, the annual cycle of festivals where films make the rounds, has become a haven and a vital platform for indie African filmmakers. It offers them the opportunity to showcase their work to global audiences and gain recognition, resources, and connections that amplify their voices on the world stage.

In 2025, the impact of the film festival circuit on indie African filmmakers is set to continue, as more festivals actively seek out diverse African stories, providing filmmakers with even greater visibility and opportunities to reach international audiences.

Churchill Osimbo, a leading East African critic, shares his thoughts on this, stating, “Film festivals in Africa serve a completely different purpose than those held on other continents. Abroad, they are used as a market for distributors to pick up new titles; here, they are often the final grand showcase for films. I’d like to see where this goes in 2025, and, for one, I hope to see a new edition of the Nairobi Film Festival, along with several others.” 

Cinema releases might also grow to surpass streaming releases as more indie filmmakers opt for them, driven by the desire for immersive audience experiences, the prestige of theatrical premieres, and the resurgence of demand for communal viewing in theatres.

Collins Okoh, the screenwriter for A Tribe Called Judah and Everybody Loves Jenifa, shares his perspective on this. He tells Afrocritik, “Given the reduced funding from Netflix and Prime, I predict that more filmmakers will opt for cinema releases as a way to demonstrate their films’ worth. Alternatively, we might see more festival runs. It will be interesting to see how the industry adapts to these changes.”

We could also see more filmmakers move beyond digital platforms and into cinemas. This shift highlights the potential for new voices to enter mainstream filmmaking, though it may also bring challenges in adapting to a different medium.

Nollywood filmmaker Donald Tombia foresees a wave of YouTube producers transitioning into cinema. He explains, “The probability that they switch up their genre offerings is low—so expect more romance movies in the cinemas from successful YouTube producers, even moderately successful ones.”

Artificial Intelligence In Filmmaking

We live in an age where artificial intelligence is poised to profoundly influence the filmmaking process, revolutionising everything from scriptwriting and editing to visual effects and audience targeting. It is reshaping how stories are told and experienced in film.

With further advancements in AI filmmaking technologies—such as automated editing software and advanced visual effects—African filmmaking is set to undergo significant transformation, enabling more efficient production, greater creative possibilities, and increased accessibility for filmmakers across the continent.

Ebuka Njoku, the filmmaker known for Yahoo+ and ỤNỌ: The F in Family, speaks to Afrocritik about this. He says, “Artificial intelligence will also start playing a role in the industry. We might see short films made entirely with AI this year, which could pave the way for more animation experiments.” 

Increased Marketing Efforts By FilmMakers

Budget cuts from streaming distributors in the African film industry may push filmmakers to rethink their marketing strategies, leading to innovative approaches such as direct-to-audience engagement through social media and partnerships with local stakeholders. These strategies will help ensure global visibility despite limited resources.

Alice Johnson, a film and theatre journalist and producer, speaking specifically about the Ghanaian film industry, tells Afrocritik, “There are also more film screening programmes in both traditional and non-traditional spaces, with open-air cinema being particularly popular. We can expect to see more cultural spaces and hubs incorporating film screenings into their programmes, which will enhance Accra’s vibrant nightlife and bring together cinephiles from all walks of life.

“We’ll also see more experimental indie short films, made on low-to-no budgets using phones, finding success on YouTube and at festivals worldwide.”

Jide Oladele, Growth Manager at Nollywire, discusses the increased competition in the African film industry in 2025, driven by the expansion of cinema screens and the need for filmmakers to improve their marketing and production quality to remain competitive. 

He tells Afrocritik, “2025 will be a battle for numbers. Every filmmaker will go harder on their marketing and quality of production (I hope), as it’s now a game of ‘go hard or go home.’” 

More YouTube Releases

In 2025, YouTube’s influence on the Nigerian film industry is set to grow as more filmmakers move beyond traditional streaming platforms. This shift is driven by YouTube’s vast user base, monetisation options, and flexibility in content distribution. 

As a result, we can expect a surge in YouTube releases, creating new opportunities not only for established filmmakers but also for emerging talent to showcase their work and gain recognition.

Njoku discusses how some African filmmakers may leverage YouTube alongside streaming platforms to release and market their films, using its global reach, cost-effective distribution model, and audience engagement tools to build a dedicated following and gain international exposure. 

He says, “Nigerian producers will attempt to leverage YouTube, but some will struggle due to a lack of understanding of the platform. I’m uncertain about what will happen with Netflix and Amazon, but I predict more films will secure international cinema distribution. We’re on the cusp of an era where Nollywood films will become global hits.”

Film and culture critic, Jerry Chiemeke, provides additional context, highlighting the “Nollytube” phenomenon, where filmmakers are increasingly using YouTube as a platform to release mid-budget and low-budget films. He notes that this trend has been profitable for filmmakers like Bolaji Ogunmola, Omoni Oboli, and Bimbo Ademoye. In response to uncertainties in the streaming landscape, such as reduced income from platforms like Netflix, Chiemeke predicts that more filmmakers will explore YouTube as an alternative revenue stream.

Founder and Editor-in-Chief of What Kept Me Up, Ikeade Oriade, also shares his thoughts on filmmakers using YouTube. He says, “As much as YouTube is free, I hope many filmmakers don’t get hit by surprise when they start releasing projects there. I’m most curious about the quality of content that’ll be released on the platform by our mainstream filmmakers who have opened YouTube channels.”

Rise of Experimental and Indie Films

The indie film scene in Nollywood is evolving, with filmmakers increasingly taking bold steps to break away from traditional narratives. Access to grants and international collaborations is fostering the creation of fresh, unconventional stories that challenge the norm while still appealing to a broad audience.

Tombia highlights this shift, explaining, “Filmmakers who receive these funds don’t want to make ‘normal’ films, but they also don’t want to make ‘experimental’ films. They’ll create films that feel different from the norm yet fresh at the same time. Whether they can make these mainstream is a different conversation.”

Chiemeke adds to this perspective, noting the growing presence of arthouse films in African cinema. Films like Mami Wata, All the Colours of the World Are Between Black and White, and Juju Stories have demonstrated that there is an audience for unconventional storytelling. 

He predicts that filmmakers like Babatunde Apalowo will lead a resurgence of arthouse films, while Francophone African filmmakers are also expected to challenge traditional norms. However, he emphasises that the success of these projects will depend heavily on effective marketing and promotional efforts.

Additionally, Tombia believes that storytelling training will play a vital role in improving the quality of indie films. “Storytelling is a huge gap in the industry, and people are naturally driven to fill gaps. Hopefully, this leads to better-told stories across all platforms.”

More Films to be Shot on Smartphones

The rise of experimental and indie films is expected to drive innovation in how stories are created, including an increased reliance on smartphones for filmmaking. Donald Tombia highlights the growing accessibility of funds and grants, which allow filmmakers to explore fresh, unconventional ideas without requiring traditional, costly equipment.

Jerry Chiemeke underscores this innovation by pointing to the success of Okuko Christmas, a film produced by Njoku and shot entirely on a Samsung phone. With 10,000 views on YouTube, the film exemplifies how smartphone technology can be used to produce content that resonates with audiences while significantly lowering production costs.

This shift is particularly significant for emerging indie filmmakers, who often face budget constraints. Shooting on smartphones provides an affordable alternative, enabling them to create visually compelling stories on minimal budgets while focusing on creativity and storytelling.

Tombia’s vision of filmmakers “making films that feel different from the norm and fresh” aligns with the flexibility that smartphone filmmaking offers, as demonstrated by Okuko Christmas.

This approach also highlights the potential of digital platforms like YouTube as spaces for filmmakers to distribute their work and connect with viewers. The increasing prevalence of short films further supports this trend. 

With smartphones lowering the barriers to entry, more budding filmmakers are likely to experiment with the format as a means of breaking into the industry. As these films gain visibility on digital platforms and at festivals, they could redefine perceptions of high-quality storytelling in the Nigerian film space.

See Also

International Collaboration and Co-Production

Scottish actor, James McAvoy, once said, “Filmmaking is a miracle of collaboration,” and in 2025, the African film industry is expected to witness more of these miracles, with a surge in international collaborations as filmmakers from different countries come together to co-produce films.

Oriade predicts an increase in international co-productions, citing La Pyramide by CJ Obasi—a collaboration involving the U.S., Brazil, Senegal, the UK, and Nigeria—as an example. He notes, “With more filmmakers attending international workshops and labs, and striving to get their films to major festivals, we’re likely to see more foreign investors and production companies working with us on multi-country productions.”

Within the continent, collaborations between filmmakers from various African countries could also rise, inspired by the success of films like One Night Guests, a co-production between Nigeria and Ghana. This trend will not only foster creative exchange but also provide a platform for African stories to reach a broader audience.

As Njoku observes, “In the near future, I foresee actors from other countries seeking opportunities in Nollywood by partnering with Nigerian producers, or Nollywood producers seeking actors from other African countries to grow a fanbase in those regions. Blessing Uzzi did it with Freedom Way, and Trino Studio has done the same with their new film, Love Lockdown.”

Regional Theatrical Releases

With the rise of pan-African co-productions, the African film industry is set to witness a significant increase in regional theatrical releases. This trend will be driven by the demand for fresh stories and the need for filmmakers to reach new audiences. Regional theatrical releases provide a platform for filmmakers to build a loyal fanbase and generate buzz around their films.

The success of Funke Akindele’s Everybody Loves Jenifa, which enjoyed a West African theatrical release and became the highest-grossing African film in the region, highlights the potential of regional distribution. Additionally, African films may see more international theatrical releases, as Everybody Loves Jenifa was distributed by Nile Group in over 20 countries outside Africa.

Speaking with Afrocritik about Nile Group’s role in international distribution, Oladele notes, “We can expect more from them this year, and I’m also looking forward to their own productions, following the appointment of Lolu Desalu as Director and Abimbola Craig as VP of Production. I’m hoping we’ll finally get to see what they have in store.”

Stacked Holiday Releases

The holiday season has always been a prime time for film releases in Africa, and 2025 will be no exception. As a result, we can expect an increase in holiday releases, particularly towards the end of the year at Christmas.

This trend is largely driven by the fact that many Africans take time off during the holidays, leading to a surge in demand for entertainment. Cinemas are usually packed, and audiences are eager for new content to enjoy with family and friends. Additionally, the festive atmosphere and relaxed mood make the holiday season an ideal time for filmmakers to release big-budget, crowd-pleasing movies that appeal to a broad audience.

Okoh echoes this sentiment: “I don’t have insider information on upcoming projects,” he says, “but I do know that Kemi Adetiba has announced King of Boys 3, slated for release on 25th December 2025, which I expect to be a hit. Funke Akindele might also surprise us with another blockbuster at the end of the year.”

With such highly anticipated releases on the horizon, 2025 is already shaping up to be an exciting year for African cinema.

Development of More Cinema Screens

The growth of the African film industry will be further accelerated by the expansion of cinema screens across the continent. In 2025, we can expect a surge in cinema construction, particularly in key markets like Nigeria, South Africa, and Kenya. This increase in cinema screens will create more opportunities for African films to be showcased, allowing them to reach a broader audience and compete more effectively with international releases.

According to statistics published in the 2024 edition of The Nigerian Box Office Yearbook by FilmOne, the number of cinema locations in West Africa alone is projected to rise by 19%, reaching 127 cinemas, up from 107 in 2024. This significant expansion will undoubtedly have a profound impact on the region’s film industry.

Oladele emphasises the importance of this development, noting that “2025 will be the year when distributors must sit tight and get their acts right because there will be more cinemas and screens.” As the cinema chains continue to expand, distributors will need to adapt and innovate to capitalise on the growing demand for African films.

Frank Njugi is a Kenyan Writer, Culture journalist and Critic who has written on the East African and African culture scene for platforms such as Debunk Media, Republic Journal, Sinema Focus, Culture Africa,  Drummr Africa, The Elephant, Wakilisha Africa, The Moveee, Africa in Dialogue, Afrocritik and others. He tweets as @franknjugi.

 

Joseph Jonathan is a historian who seeks to understand how film shapes our cultural identity as a people. He believes that history is more about the future than the past. When he’s not writing about film, you can catch him listening to music or discussing politics. He tweets @JosieJp3.

 

Fejiro Sagua is a writer and film enthusiast who loves diving into the world of movies. She’s always on the lookout for great stories and new films to watch. When she’s not busy writing or watching movies, you can find her reading books, at the gym, creating content, or having interesting conversations with friends, family, or even strangers.

Cover photo credit: CNN

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