Renowned Nigerian filmmaker and creative director, Andy Amadi Okoroafor, has sparked a vital conversation about the state of African storytelling, asserting that the continent’s creative authenticity suffers because Africans have not taken charge of designing their own future—both culturally and artistically.
Speaking at the iREP International Documentary Film Festival, Okoroafor dissected the forces undermining African cinema’s unique voice, blaming a persistent reliance on foreign funding, the overpowering influence of American cinema aesthetics, and a general lack of deep research and planning in the creative process.
Designing the Future: The Missing Link in African Storytelling
“For African stories to be truly authentic,” Okoroafor said, “Africans must begin to design their own future—visually, conceptually, and ideologically.” He stressed that this design process goes beyond just cinema, extending into visual arts, architecture, and even national identity. When creators take the time to consciously define what their culture looks like in the modern world, they not only preserve authenticity but also generate cultural and economic value.
"Designing is like creating a painting," he explained. "If you have a design for something, you can master it. That’s what’s missing in Africa—we don’t design our future, our art, or our imagery, like deciding what Nigerian film aesthetics should look like.”
Film as a Mirror of Culture: Examples That Lead the Way
Okoroafor referenced the film Relentless, which powerfully captured the soul of Lagos, and praised veteran filmmaker Tunde Kelani, whose work he described as deeply rooted in Nigeria’s cultural essence. Kelani’s films, he said, show that “one can make Yoruba films that aren’t necessarily Yoruba films, but rather Kelani films”—films that transcend genre to become personal, thoughtful expressions of national identity.
These examples, according to Okoroafor, reflect what it looks like when African creatives take control of their narratives, rather than imitating the tropes and styles of dominant foreign industries.
The Trap of Neo-Colonialism in African Cinema
One of Okoroafor’s most striking critiques was aimed at the pervasive influence of American cinema on African filmmakers. “We are under a new form of colonialism,” he argued. “Neo-colonialism through American cinema—especially in Nigeria. We are subconsciously copying a film language that doesn’t belong to us.”
While he acknowledged that there is nothing inherently wrong with emotionally driven films, he contrasted his own approach with that of American storytelling. “I don’t manipulate the viewer to cry at certain points in a film,” he said. “The emotion has to come from the viewer. I like to present people, then viewers can look for the empathy and humanity in them.”
His appreciation lies with the French and Japanese cinematic masters—cultures with vastly different approaches to storytelling than Hollywood—showcasing his preference for subtlety, humanity, and authenticity over formulaic emotional arcs.
Funding as Freedom: A Lesson from China
Okoroafor made it clear that the problem is not just aesthetic but also financial. He emphasized that African filmmakers must fund their own projects to reclaim creative freedom. "Designing the future becomes more difficult when you’re overtly chasing money from external sources,” he said, pointing to China as an example. “Chinese art became the second most influential art in the world because Chinese people started collecting Chinese art.”
By investing in their own futures, African nations and creatives can break free from the dependency that currently shapes and limits the stories they tell.
Looking Ahead: Preserving Nigeria's Cultural Identity
Okoroafor, who recently wrapped up production on a new documentary about legendary Nigerian architect Demas Nwoko—co-produced with celebrated artist Ese Brume—is leading by example. His latest work aims to honor a uniquely Nigerian vision, both in subject and in style, offering a compelling model for what it means to design and control one’s cultural narrative.
As Africa’s creative industries continue to rise in global visibility, voices like Okoroafor’s serve as both a critique and a call to action. If African filmmakers are to tell stories that are truly their own, they must first imagine—and then deliberately build—the future they wish to see.