Ghana’s film industry faces a commercial challenge that extends beyond the cost of producing movies: filmmakers must find reliable ways to reach audiences, measure demand and recover their investments in a market where distribution opportunities remain limited.
The problem raises questions about the long-term sustainability of an industry with the potential to create jobs, generate revenue and promote Ghanaian culture internationally, but where the relationship between production costs, audience reach and financial returns remains difficult to establish.
The issue emerged during the launch of the Second Peruvian Film Festival at the University of Media, Arts and Communication (UniMAC), South Legon campus, in Accra on Thursday, October 8, 2026. Filmmakers and industry officials used the occasion to discuss the commercial realities confronting Ghanaian cinema.
Mr Jonathan Quevedo, Deputy Ambassador of Peru to Ghana, highlighted the potential for international film festivals to create professional connections that could lead to new creative projects and partnerships between film industries.
“Every conversation taking place during this festival may become the beginning of a joint production, an academic exchange, a new creative project, or a lasting partnership between our film communities,” he said.
His remarks point to an opportunity for Ghanaian filmmakers to build professional networks beyond the domestic market, explore collaborations with international counterparts and develop projects that could reach wider audiences. However, translating these connections into commercial gains would require sustained engagement and viable arrangements for financing, production and distribution.
Kafui Danku-Pitcher, Acting Executive Secretary of the National Film Authority (NFA), acknowledged the challenges surrounding distribution, production quality and access to audiences. She highlighted the need for a more coordinated system to help films move beyond limited exhibition opportunities and reach viewers through cinemas and digital platforms.
Producing a film does not automatically guarantee enough paying viewers to recover costs, compensate creators and generate profits for future productions. Without dependable routes to market, filmmakers face uncertainty over potential earnings, making it harder to attract private investors seeking evidence of commercial returns.
The NFA’s mandate includes promoting the distribution, exhibition and marketing of Ghanaian films, as well as facilitating a distribution network for local productions. A functioning market is therefore central to building a financially sustainable industry.
A particularly important concern raised during the panel discussion was the shortage of reliable industry data. Filmmaker, screenwriter, producer and film educator Yaw Firempong Boakye stressed the importance of data in attracting private-sector investment.
For investors, knowing how many people watch a film, where they watch it and how much revenue it generates can make the difference between a calculated investment and a financial gamble. Credible audience figures can help producers identify promising markets, set realistic budgets and demonstrate the commercial value of their work.
Without consistent records of cinema attendance, digital viewership and revenue performance, producers may struggle to convince investors that their projects have viable business prospects. The consequences extend across the industry, potentially limiting employment for actors, writers, editors, cinematographers and other creative professionals.
Filmmaker and creative director Epiphania Sarah Ama Ablorde highlighted the importance of commercial considerations, saying: “I’m very particular how marketable the film is.”
Her observation underscored the need to consider audience demand alongside artistic quality. Strong scripts, appropriate casting, effective marketing and clear distribution strategies all influence whether a production can attract viewers and recover its costs.
The discussion also exposed an infrastructure challenge. Limited access to cinemas, particularly outside major urban centres, restricts opportunities for audiences to watch Ghanaian productions. James Gardiner, Deputy Executive Secretary of the NFA outlined plans to expand screening opportunities and bring cinema experiences closer to communities, an approach that could widen the market if supported by sustainable operating models and a consistent supply of quality films.
Digital platforms offer another avenue for reaching audiences, but uploading a film online does not guarantee commercial success. Producers need effective distribution agreements, audience development strategies and reliable information about viewership and earnings to determine whether digital releases can generate sustainable returns.
The economic implications have also attracted government attention. Ghana’s 2026 Budget allocated GH¢20 million to the Film Development Fund as seed money to support the industry. However, MyJoyOnline reported in June 2026 that GH¢5 million of the allocation had been released at the time, highlighting the distinction between the budgeted amount and funds made available.
The festival, organised by the Embassy of Peru in Ghana in collaboration with the NFA and UniMAC, brought together diplomatic representatives, academics and film industry professionals. Peruvian filmmaker, director, writer and lecturer Rossana Díaz Costa joined the panel virtually from Madrid, while Matilda Ntiriwaa Kyei, Cultural Promotion and Public Diplomacy Officer at the Embassy of Peru, moderated the discussion.
Díaz Costa, reflecting on the demands of filmmaking, said: “You need a lot of patience if you want to be a filmmaker.”
For Ghana, patience must be matched by a deliberate commercial strategy. Better audience data, stronger distribution networks, investment in cinema infrastructure and transparent reporting of film revenues could reduce uncertainty for investors. Greater collaboration among producers, distributors, exhibitors, streaming services and financial institutions could also help connect productions to paying audiences.
Ultimately, the test of a sustainable film industry is not simply how many movies Ghana produces, but whether those productions can reach audiences, generate revenue, support jobs and finance the next generation of films.
