Africa’s paid television and online streaming market is projected to reach $5.2 billion by 2030, but weak distribution networks, limited financing and affordability challenges threaten to prevent local filmmakers from benefiting fully from the industry’s expansion, according to a new study commissioned by Afreximbank and Germany’s development agency GIZ.
The report, titled Made in Africa, Watched Globally?, finds that growing film production across the continent has not been matched by investment in distribution and monetisation, leaving filmmakers struggling to reach audiences and generate sustainable returns.
The study, produced by Dalberg and covering Egypt, Kenya, Nigeria, Rwanda, Senegal and South Africa, draws on 91 stakeholder interviews, a survey of 1,630 viewers and five case studies.
It identifies a combination of weak cinema infrastructure, high internet costs and limited access to distribution financing as major constraints on the commercial potential of African films, even as demand for digital entertainment expands.
Audience preferences also present a challenge. In Rwanda, 56% of respondents cited a lack of interest in stories or themes as a reason for not watching local or African films. In South Africa, 98% said acting quality was important when choosing films, while 96% placed similar importance on plot and technical quality.
The findings suggest that expanding production capacity alone will not be sufficient to build a competitive African film industry, with filmmakers needing to invest in stronger storytelling while understanding the preferences and spending habits of different audiences.
Distribution remains one of the industry’s biggest weaknesses. Africa has approximately one cinema screen for every 787,000 people, compared with one for every 8,700 people in the United States, according to the report.
Cinema infrastructure is also heavily concentrated in major cities. About 90% of Egypt’s cinema screens are located in Cairo and Alexandria, while more than 75% of Kenya’s fewer than 50 screens are in Nairobi.
Digital platforms offer an alternative, but affordability remains a constraint. The study estimates that 1GB of mobile data costs the equivalent of 3.1% of monthly income across many African markets, exceeding the global affordability benchmark of 2%.
In Kenya, 52% of respondents said local and African films were difficult to find on mainstream platforms, highlighting the gap between growing digital consumption and the visibility of locally produced content.
YouTube has emerged as a major distribution channel, with 87% of Kenyan respondents and 98% of Senegalese respondents who stream films reporting that they use the platform. However, the study warns that audience reach does not necessarily translate into sustainable earnings, as advertising revenue can be limited.
The report recommends expanding advertising-funded streaming services, offline downloads, lower-cost data bundles and mobile-money payment options to make African films more accessible.
Examples from the continent show how alternative business models can attract large audiences. Senegal’s Marodi TV has accumulated 8.67 million YouTube subscribers and 4.6 billion views through a free, advertising-supported model. In Kenya, platforms such as Viusasa have offered 24-hour subscriptions costing as little as 10 to 20 Kenyan shillings.
Financing gaps are also limiting the industry’s growth, particularly for mid-budget productions and African-owned distribution companies that can acquire, market and distribute films across the continent.
The report describes a weakened ‘missing middle’ in film financing, pointing to the shortage of platforms and aggregators capable of paying licensing fees and commissioning local productions for domestic and regional audiences.
The closure of Showmax in April 2026 and changes in commissioning by international streaming services, including Amazon Prime Video, have further narrowed some established financing and distribution opportunities for African filmmakers.
To address the shortfall, the study recommends greater investment in African-owned streaming platforms and distribution companies, alongside dedicated national and regional funds to finance marketing, subtitling, dubbing and coordinated film releases.
It also identifies regional licensing arrangements and closer alignment under the African Continental Free Trade Area as opportunities to reduce barriers to cross-border distribution and expand the commercial market for African productions.
Speaking on the financing challenges, Osahon Akpata, chief executive officer of CANEX Creations Incorporated, said, “Africa’s film industry has demonstrated its ability to produce compelling stories that resonate with audiences around the world. The next priority is to ensure that this growing demand translates into sustainable businesses and greater economic returns for African creatives. This requires investment across the entire film value chain, alongside stronger African-owned enterprises capable of bringing local productions to regional and international markets. Through our Creative Africa Nexus (CANEX) programme, Afreximbank is working to bridge financing gaps, strengthen the commercial foundations of Africa’s creative industries and create opportunities for African businesses to participate more competitively in global markets. Our ambition is to build an industry where African creativity drives enterprise growth, generates employment and contributes meaningfully to intra-African trade.”
The experience of the Kenyan documentary Searching for Amani illustrates the difficulties filmmakers face in converting international recognition into local commercial opportunities.
The film premiered at the Tribeca Festival in 2024 and was selected for about 100 festivals worldwide, including the Raindance Film Festival. Despite its international exposure, its filmmakers struggled to secure financing for community screenings in Kenya, limiting access for local audiences.
Beyond commercial returns, the report also identifies opportunities for films to influence public debate and policy decisions on issues including youth employment, gender equality, governance and cultural identity.
In Senegal, a documentary titled L’utilité et l’attachement, which examined unpaid compensation owed to communities displaced by a railway project, prompted presidential instructions to address the claims following a screening.
The study recommends that development partners and public funders support community screenings and discussions, while measuring the extent to which films influence public attitudes, behaviour and policy decisions.
Victor Chudal-Linden, project manager at GIZ, said: “Good decisions start with a clear picture – and a clear picture emerges from many data points. The value of this evidence lies in how industry players, policymakers and partners use it together to understand audiences, address distribution gaps and help African stories reach more people. Together, we screen brighter”.
The findings were unveiled at CANEX WKND 2026 in Lagos, Nigeria, where film industry executives, investors, telecommunications companies, payment providers and policymakers discussed opportunities to improve distribution, financing and industry data across Africa’s creative economy.
