Acclaimed Ghanaian comedian and filmmaker, Kwaku Sintim Misa, commonly referred to as KSM, has voiced his concerns regarding the current landscape of the Ghanaian film industry. He asserts that while the country is rich in talent and resources, it still falls short in establishing the necessary framework for success.
During a discussion on Joy Learning TV and Joy News, KSM highlighted the significant potential that Ghana’s film industry holds but lamented its absence of a definitive strategy for advancement. “In Ghana, our film industry is incredible. We possess all the elements for a thriving film sector, yet I believe we haven’t quite got the recipe right,” he remarked.
KSM acknowledged that while some producers have discovered this elusive “recipe,” a majority continue to grapple with the challenges of finding their place within the industry. “There are segments of Ghanaians who have now figured out the recipe, but generally, that has been a struggle for us in the industry,” he added.
He attributed these difficulties to the fact that Ghana’s film sector is still evolving. Drawing a comparison with Nigeria, he explained that the Nigerian film industry benefits from years of experience and exposure, which has enabled them to hone their production and distribution processes over time. “Unfortunately, we are still in a phase of growth. We cannot equate the film industry in Ghana with that of Nigeria. The Nigerians have had a longer history of film-making. The more films they produce, the better they become at it. As they continue to create, they also innovate their distribution methods, ultimately establishing a system that works for them,” KSM elaborated.
In contrast, he pointed out that Ghana has yet to establish a robust, long-term system, especially concerning distribution. “Producers often hustle to generate revenue, then scramble to finance the film. Once they’ve settled the costs for the film, the actors, and everyone involved, they find themselves hustling again just to distribute it. There are no proper distribution channels,” he lamented.
KSM reflected on earlier days when CDs and DVDs were the primary means of distributing films in Ghana. He recalled that once a film was completed, producers would burn copies onto CDs or DVDs and sell them on the streets. “There was a time when making a film in Ghana meant it went straight to CD. Before DVDs, there were CDs. To sell the film, you had to hire a float and sell the CDs. This is not a distribution system. The recipe is not functioning,” he emphasised.
Despite these hurdles, KSM commended certain filmmakers who have successfully managed to screen their movies in cinemas. However, he pointed out that due to the lack of a well-established distribution network, even these films struggle to reach broader audiences nationwide. “We have some remarkable filmmakers in Ghana. Even now, I am aware of outstanding films. In countries with developed systems, when a film is released in one cinema, it is simultaneously shown in others—Accra, Kumasi, Takoradi, Sunyani—reaching over 200 cinemas at once. But in Ghana, because we lack a well-structured system, a film may premiere at Silverbird in Accra, and then the producers must manually arrange for screenings in Kumasi. That kind of model does not foster industry growth,” he concluded.
