African film, and its filmmakers and producers, is inevitably much like the countries that fill the large continent: a vast array of personalities, humour, issues, injustices, histories that ultimately represent a variety of storytelling methods. It is one of the few film industries – along with perhaps, to a lesser extent, Asian cinema – where a number of national cinemas are lumped into one term; the obvious truth being that a South African film is very different to an Egyptian film, and a Ghanian film is very different from a Mozambiquean film. The current evolution and rise of the industry (or should it be industries ?) will probably one day give way to the continent being gradually and filmically split into regions and then countries, so that each nation is recognised at film festivals and the like. In the same way that we refer to French and Spanish cinema, rather than throwing them simply into European cinema, which both have their own iconic films and themes that are recognised worldwide, we may one day refer to Moroccan cinema, which will then conjure an idea or at least a well-known film title in the audience’s mind. This is not true of all African cinema, and the production in many countries is growing stronger, both in quantity and quality. This discussion is very much discounting the mammoth Nollywood, which has certainly taken on a life of its own. Still very much tied up with African film as we know it, that industry works in its own ways in terms of distribution, exhibition and arguably has less of a western following, but rather a Nigerian Diaspora audience in the west. While cross-over films like TSOTSI and TOWN OF RUNNERS have been relative hits on the arthouse circuit, who could name a Nollywood film that has done so in the west?

“…the production in many countries is growing stronger, both in quantity and quality.”

It must be noted that reference to ‘the west’ indicates a more mainstream and arthouse audience. While the measure of success for a film needn’t, and perhaps shouldn’t, be reflected in its acceptance, and therefore revenue, in the west; it is impossible to ignore the fact that such recognition increases knowledge, interest and future filmmaking potential and possibilities for any country’s industry. In this way, like every national cinema, a worldwide audience is certainly important, and sought after, by African filmmakers. To be linked to events like the Oscars and the bigger (Sundance, Tribecca, Toronto) film festivals is invaluable exposure for African filmmakers.

“The role that these festivals play in exposing African films to UK audiences is monumental, but also goes deeper than simple exhibition.”

Indeed, African film – and us with it –  is fortunate that here in the United Kingdom there are no less than four major, and successful, film festivals dedicated to exhibiting African cinema. This also proves that the western audience is growing for these films. Like most industries, this growth splits into a mainstream branch (DISTRICT 9) and increasingly frequent arthouse releases (LIFE, ABOVE ALL). The biggest of these festivals is London’s Film Africa. With 70 films being shown, as well as a variety of talks and workshops focusing on African film and culture, the importance of this event cannot be stressed enough. Following closely behind is Africa in Motion in Edinburgh, Afrika Eye in Bristol and the Cambridge African Film Festival. The role that these festivals play in exposing African films to UK audiences is monumental, but also goes deeper than simple exhibition. In doing so, the films are able to relate stories and issues expressed and discussed by African filmmakers about their own countries and backgrounds; but in parallel serve to challenge stereotypical views of the Africa represented in western media. Increasing knowledge through entertainment like no other medium is capable of performing, film educates and enhances awareness. As part of Film Africa’s mission statement says, ‘Film Africa celebrates the wealth, diversity and quality of African cinema and African stories, thereby helping to challenge negative stereotypes about the continent.’

“What is apparent is that there is a large, rich and as yet not fully realised or utilised gold mine of film talent and potential in Africa.”

To scratch the surface of African film is to open a world of issues, discussions and arguments that have not been presented here. What defines an African film? Is it the filmmakers, the location, the actors, the money, the perspective? The history of African film may not be well-known, but goes back many, many years, with a wealth of filmmakers like the great Ousmane Sembène, and perhaps lesser-known, but resilient, filmmakers like Oliver Schmidtz. What is apparent is that there is a large, rich and as yet not fully realised or utilised gold mine of film talent and potential in Africa. This is just the beginning of great things for the continent’s film industries.

Film Africa is currently taking place between 1 – 11 November, at various locations around London. The Cambridge African Film Festival runs from 10 – 17 November at the Cambridge Arts Picturehouse. Afrika Eye takes place at the Watershed in Bristol between 9 – 11 November.