Oluseye Abogunrin’s Post

The recent Gouna Film Festival (GFF) and the MV Catherine arms shipment scandal have both ignited intense debates across Egypt and the Middle East, spotlighting Egypt’s current position amid regional turmoil. While GFF, held from October 24 to November 1, 2024, aimed to celebrate the arts and emphasize cinema’s humanitarian role, it has faced criticism for its timing amid escalating violence in Gaza and Lebanon. In parallel, the MV Catherine controversy involving allegations of arms transfers has raised difficult questions about Egypt’s foreign policy and potential ties with Israel. Together, these events reveal complex cultural and political dynamics at play, testing Egypt’s standing domestically and regionally. #FilmFestival #CinemaForbad #CulturalDiplomacy #MiddleEastPolitics #ArtAndPolitics #SocialImpact #DocumentaryFilmmaking #Gaza #FilmIndustry #PoliticalAwareness #FilmCommunity #CreativeLeadership #HumanRights #CinematicStorytelling #ArabSolidarity #TransparencyInGovernment #CulturalIdentity #GlobalCinema #EthicalFilmmaking #InternationalRelations

🎥 Transforming the Cinema Landscape in Africa The cinema experience is a powerful tool for storytelling and cultural connection. Yet, in 2023, despite Nigeria and Ghana recording approximately ₦7.4 billion in box office revenue, the numbers reveal an untapped market. With a combined population exceeding 249 million, only 2.4 million cinema admissions were recorded—largely repeat customers. When you break it down, that’s an average of just 13,560 unique cinema-goers per title across 177 movie releases. The challenge lies in accessibility. High equipment and operational costs make it difficult for cinemas to expand their reach and cater to a broader audience. The reality is that most of our potential patrons remain underserved due to economic barriers and limited cinema infrastructure. But here’s the opportunity: Africa’s market is still green. We’ve only scratched the surface. To truly unlock the potential of cinema in this region, innovative technological solutions are critical: • Affordable projectors and equipment tailored for emerging markets. • Reduced operational costs to make ticket prices more accessible. • Support for local content and distribution models that resonate with African audiences. This is a call to action for stakeholders, tech innovators, and investors. Together, we can build an inclusive cinema culture that reaches millions more, fueling growth for the industry and giving Africans the cinematic experiences they deserve. Let’s collaborate to turn challenges into opportunities and grow the African cinema ecosystem. 🌍 #CinemaInAfrica #Innovation #FilmDistribution #AfricanStories #Thewaiter #silverbirdfilmdistribution #Genesisdistribution #Nigeria #ghana #creatives #westafrica

#Russia #Egypt #Ethiopia #SouthAfrica: I have no idea what these exchanges could mean going forward, especially regarding African participation. However, I continue to keep a close watch on BRICS activity in the context of "film industry" (my focus), especially as more African countries join the intergovernmental organization. Regarding African participation, the BRICS countries, which already included South Africa (the "S" in the acronym), added Egypt and Ethiopia to their ranks as of January 2024. And more African countries want to join. But what does it all mean? 🤷🏾♂️ As I shared here last month, representatives from the BRICS nations convened to discuss joint film productions and developing national film distribution networks. While no concrete plans were announced during the plenary, these are all noteworthy developments. The BRICS Film Festival kicked off Friday, April 19, 2024, in Moscow, Russia, as part of the Moscow International Film Festival. The festival is hosted annually by a different BRICS country and features films representing its member states. Florence Masebe, a South African actor and festival jury member, said, "We get to exchange and know each other better and understand each other's preciousness and values better when we get to watch each other's stories." Ethiopian producer Yirgashewa Teshome, also a festival jury member, added, "The BRICS Film Festival will make a difference for sure among the BRICS countries." In the grand scheme for African BRIC countries, action in this context could mean pooling resources, widening access to foreign markets, pushing back against American and European entanglements, and inspiring regional cooperation, which could only bode well for the continued development of their local film industries, and spur economic growth. It also could mean absolutely nothing at all! Here's video coverage of the opening day press conference via Africa News.

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*the department of film and multi media studies,under the faculty of communication organized it 2nd conference tittled: Nollywood nation Annual conference series this event was really awesome,we learnt a whole lot,the origin of Nollywood, it roles, impacts, reason for divers movie cinema in Nigeria,and how we can make ends meet,even in this depressed economy,

This is a progressive, inclusive and innovative strategy adopted to share and dissect various components of the issue at hand, #NationalGoldCorporationBill2022, before arriving with appropriate recommendations for the good of all the stakeholders. #Thankyou #PNGCORE #Thankyou #President

A graphic shared last week by the European Audiovisual Observatory—part of the Council of Europe—of the top 10 markets worldwide by cinema admissions in 2023. No African countries are included on this shortlist. But that shouldn't be a surprise though. Even Nigeria, the continent's most populous country and, per every recent study, among the most prolific globally, after a historic 2023 box office, did not make the top 10. It's likely not even in the top 20 with a reported 2023 admissions of around 2.3 million despite a population of 218 million. Obviously, there are reasons for all of this. And while the graphic doesn't directly address Africa's film industry situation, it allows for some critical inferences about the continent's film markets based on what is and isn't shown. Akoroko Premium subscribers received my detailed insights in a dispatch titled "Global Cinema Admission Trends (Analysis): Lessons and Opportunities for Africa." Ultimately, the point is to continue emphasizing gaps and, as a result, opportunities in different contexts to provide a more comprehensive perspective. Subscribing is quick and simple with two options. MONTHLY: https://lnkd.in/dA4yTVKT ANNUAL: https://lnkd.in/gvfmUnYd

Watch this documentary of the time before 1948, what realy happened: Palestine 1920. The other side of the history. Documentary film. Aljazeera world documentary. https://lnkd.in/dkqyyMdu

African producers, are you planning to co-produce your film or series with a European or North American partner? 🤝 If yes, you should be aware of these few questions. • Does your project involve any scene shot in a European or western country? or any European/western character? • Do you have a famous US talents (ie represented by an reknown talent agency)? • Do you have tax rebate in the country of shooting? • How much of the budget can you provide locally through government grants and/or local funding? • How secure is your legal infrastructure? • And the France specific: is the movie shot in French? Although some of them seem very basic, like recouping funding locally, this set of questions will have you rework your script, and adjust your production set up to "mold" your project for it to fit certain international criteria, just to get "the grants". But why should it be necessary? Always think about your core story, with your audience in mind, and you will be able to find the adequate financing for it. However, keep looking forthe right partners for our projects. Cinema is a work of passion, and you can find people that believe in your vision anywhere in the world! #Africa #cinema #filmproduction