The 2025 Oscars and the African Cinema Paradox

The 97th Academy Awards have come and gone. Held on March 3, 2025, the event left behind a trail of triumphs, historic firsts, and, once again, an uncomfortable silence for African cinema. While filmmakers from around the world celebrated their victories, Africa's presence at the Oscars remained largely symbolic. Despite submissions from nine countries for Best International Feature Film, the continent left without a single win.

This is not a new story. It’s a cycle. Every year, a handful of African films fight for a nomination, a few make it to the shortlist, and then they fade into the background. Meanwhile, global cinema is moving forward.

So, what’s wrong? Why does Africa struggle to break through the Academy’s elite circle despite a wealth of stories, talent, and cultural richness? Is it the films? The industry? The marketing? Or is the Oscars system itself a challenge for African filmmakers?

The answer is complex. It’s a mix of industry limitations, strategic missteps, and structural barriers—a paradox that Africa’s film industry must confront if it hopes to compete on the world’s biggest stage.

1. The Oscars: A Game Africa Isn’t Playing Right

The Oscars are not just about good films. They’re about campaigning, visibility, and networking—things that African filmmakers have not fully mastered.

Take Nigeria’s submission, “Mai Martaba”, as a case study. The film had strong potential, backed by a historical drama narrative that often resonates well with the Academy. Yet, by the time voting closed, its campaign had barely taken off. The Nigerian government had pledged funding for the campaign but failed to release the money on time.

Here’s the hard truth: Winning an Oscar isn’t just about artistic brilliance. It’s about playing the game.

• Films need aggressive marketing campaigns in Hollywood.

• They need to be screened at the right festivals (Cannes, Toronto, Venice).

• They need endorsements from Academy members who can influence votes.

• They need months of networking, private screenings, and press coverage.

This is how movies like Anora and Emilia Pérez dominated this year’s Oscars. Their teams understood the process. Africa, on the other hand, is still trying to enter the conversation.

2. Africa’s Film Industry Is Expanding, But Not Strategically

African cinema is evolving. Nollywood, South Africa’s film industry, and North Africa’s arthouse cinema are growing rapidly. But growth is not enough. Winning an Oscar requires strategic filmmaking, not just storytelling.

Some of the films submitted this year were artistically strong but structurally weak in terms of global appeal. A few common issues include:

• Production Quality Gaps: While storytelling is strong, technical execution (cinematography, sound design, editing) often lags behind films from Europe and America. The Academy notices these details.

• Festival Positioning: Many African films prioritize local festivals over international powerhouses. A film that does well in Lagos, Cairo, or Durban may not automatically appeal to Academy voters.

• Genre Choices: The Oscars favor historical dramas, biopics, and deeply human stories. Africa often submits films that are either too niche or too focused on local themes without a global bridge.

A good example is Senegal’s "Dahomey"—a powerful film about African history and colonial restitution. The movie was critically acclaimed in Europe, especially in Berlin, but didn’t gain traction in Hollywood. Why? Because America’s relationship with Africa’s colonial past is different from Europe’s. Had the film centered on African-American historical ties, it might have stood a better chance.

3. The NGO Cinema Dilemma in East Africa

One of the most significant challenges for African cinema, particularly in East Africa, is over-reliance on NGO-backed filmmaking.

Films like Kenya’s Nawi, which focused on a girl fighting for education against child marriage, are socially impactful but face challenges at the Oscars. Why? Because the Academy leans toward films that are artistically groundbreaking, not just politically important.

There’s nothing wrong with making films with strong messages. However, if the storytelling leans too heavily into activism without cinematic innovation, it risks being seen as a “charity project” rather than an artistic masterpiece.

To win, Africa needs to find a balance—telling powerful stories while ensuring artistic and production excellence.

4. Hollywood’s Selective Embrace of African Stories

Even when African films are exceptional, Hollywood’s system is not designed to embrace them easily. The Academy has a long history of rewarding African-American narratives over African narratives.

Consider the types of African stories that breakthrough in Hollywood:

• 12 Years a Slave (directed by Steve McQueen, British-American)

• Black Panther (African-inspired but Hollywood-made)

• The Woman King (about Dahomey warriors but directed by an American)

Meanwhile, authentic African films struggle to gain momentum in Hollywood. This bias makes it harder for African films to get the marketing push they need for Oscar success.

5. What Africa Needs to Do to Win

Africa can no longer afford to approach the Oscars passively. If the continent wants to win, it needs a long-term strategy.

A. Build a Stronger International Presence

• More African films need to premiere at global festivals like Cannes, TIFF, Venice, and Sundance before the Oscar season. This is where the buzz begins.

• Filmmakers should collaborate with international producers and distributors who understand how to position films for Oscar success.

B. Master the Oscar Campaign System

• African filmmakers must start investing in Hollywood-based PR teams who can push their films into the Academy voting circuit.

• Government agencies must fund Oscar campaigns early—not after nominations are announced.

• Screenings for Academy members must be aggressively pursued months before voting begins.

C. Improve Production Quality

• More funding should go into film schools, advanced cinematography, and post-production resources to raise the technical quality of African films.

• Cross-continental collaborations can help African filmmakers learn from top industry professionals in Hollywood and Europe.

D. Diversify the Type of Films Africa Submits

• Instead of focusing only on political and social justice stories, African filmmakers should explore biopics, psychological dramas, and historical epics that fit the Oscar mold.

• Films should strike a balance between local authenticity and global relatability—a formula that has worked well for Latin American and Asian films in the Oscars.

Conclusion: The Future of Africa at the Oscars

The fact that nine African countries submitted films this year is progress. But progress isn’t the same as success.

African cinema has the potential to win Oscars—not just one, but multiple. The talent exists. The stories exist. The question is: Will African filmmakers and stakeholders step up and change their strategy?

If the continent continues with business as usual, it will continue being a spectator at the Academy Awards. But with the right strategic shifts, Africa can rewrite its Oscar story.

The world is waiting. It’s time to rise.

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A guest post by

Layo

A curious mind exploring the crossroads of creativity and insight.

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