Beyond the trophies: REFFA 2026 targets global visibility for African films

African cinema is steadily expanding its global footprint, with filmmakers increasingly using the power of storytelling to explore the continent’s identity, confront social realities and present its diverse cultures to international audiences. Against this backdrop, the second edition of the Reffa Film Festival and Awards (REFFA) has attracted 314 film submissions from 36 countries, signalling growing interest in a platform dedicated to celebrating cinematic excellence and advancing African storytelling.

The announcement was made during the festival’s official nomination night on Friday, October 09, 2026, when organisers unveiled the productions selected to compete for honours at the December event. The submissions, drawn from Africa and other parts of the world, were screened and assessed by the festival’s Academy before selected films proceeded to the jury for further evaluation.

For REFFA, the figures represent more than a numerical milestone. They offer an indication of the breadth of creative activity within the film industry and the growing appetite for platforms that recognise original stories, technical craftsmanship and the people working behind and in front of the camera. The challenge now is to transform that interest into meaningful opportunities for filmmakers to reach new audiences and build sustainable careers.

Addressing the gathering, Salassie Ibrahim, Executive Director of REFFA, highlighted the festival’s commitment to recognising outstanding filmmaking while creating opportunities for African stories to travel beyond their countries of origin. The festival, he indicated, is intended to serve as a meeting point for creative talent, industry professionals and audiences who appreciate the power of cinema to connect people across geographical and cultural boundaries.

The Academy’s head, speaking on behalf of the head of the jury, Dr Jim Awendo, outlined the assessment process and the range of expertise involved. The evaluation brought together filmmakers, film lecturers and critical film analysts from Ghana, Nigeria, Uganda, Cameroon, South Africa and The Gambia, providing perspectives shaped by different filmmaking traditions and professional experiences.

The entries covered a broad spectrum of cinematic forms, including full length feature films, short films, animations, documentaries, YouTube productions, student projects and debut works. This diversity reflects an industry in which established filmmakers and emerging creators are finding different ways to produce and distribute content, while digital platforms continue to widen access to audiences.

The Academy assessed the submissions against several creative and technical considerations, including storytelling, narrative development, cinematography, lighting, editing, pacing, rhythm, makeup, costume and directing. Together, these elements helped determine how effectively each production communicated its story and how successfully its creative decisions supported the overall film.

Following the initial screening, 142 films were forwarded to the jury for further evaluation and categorisation across the award categories. The selection process narrowed the field while allowing the jury to examine the competing productions more closely before determining the final nominees.

The Academy described the quality of this year’s submissions as encouraging, particularly in relation to improvements in scripting and production standards across African cinema. The assessment, however, also highlighted areas where filmmakers could strengthen their craft, demonstrating that recognition and constructive professional feedback can play complementary roles in developing the industry.

Among the recommendations was a call for producers, particularly those working on longer YouTube productions, to consider submitting directors’ cuts and paying greater attention to pacing during editing. The advice underscored the importance of disciplined post production, where decisions about rhythm, scene length and narrative progression can determine whether a compelling story holds its audience from beginning to end.

For an industry increasingly competing for viewers’ attention across cinemas, television and digital platforms, such considerations are significant. Strong ideas and compelling performances remain essential, but technical precision and thoughtful editing can make the difference between a promising production and one that resonates with audiences beyond its immediate market.

GHANAIAN PRODUCTIONS TAKE CENTRE STAGE

Ghanaian films feature prominently among this year’s nominees, with No Man of God and Two securing recognition across several major categories. Their nominations place Ghanaian creative talent within a wider continental competition that also includes productions from countries such as Côte d’Ivoire, Kenya, Nigeria, Uganda and Burkina Faso.

In the Best Picture category, No Man of God, produced by Ampong Kwaku Kwakye, will compete alongside Two, produced by Nana Kofi Asihene, Aphua Larbi-Amoah, Louis Lamis, Isaac “Yaw Skyface” Mensah and Johnn “Kwame Black” Markin. The two Ghanaian productions will face competition from other African entries for one of the festival’s most prominent honours.

The recognition extends to the directors behind the films. Ampong Kwaku Kwakye has earned a Best Director nomination for No Man of God, while Nana Kofi Asihene has been nominated in the same category for Two. Their inclusion highlights the role of creative leadership in shaping a film’s visual language, performances and narrative direction.

Ghana’s presence is equally evident in the acting categories. Majid Michel has received a Best Actor nomination for his performance in No Man of God, while Gideon Boakye has been nominated for Two. The nominations place the two performers among the contenders whose work will be considered for recognition at the awards ceremony.

In the Best Supporting Actor (Male) category, Adjetey Anang has earned a nomination for No Man of God, while Senanu Gbedawo has been recognised for his performance in Two. Their nominations draw attention to the contribution of supporting performances in deepening character development, strengthening dramatic tension and bringing greater complexity to a film’s central story.

The Best Supporting Actor (Female) category also features Ghanaian representation, with Bamike Olawunmi nominated for No Man of God and Dela Seade for Two. Their inclusion broadens the range of Ghanaian talent recognised in the nominations and reinforces the importance of performers whose contributions help shape the emotional depth and authenticity of cinematic narratives.

Beyond direction and acting, the nominations recognise the craft of screenwriting. Ampong Kwaku Kwakye has secured an Achievement in Screenplay nomination for No Man of God, drawing attention to the writing that underpins the film’s characters, dialogue and narrative structure. Screenwriting remains central to filmmaking because even the most accomplished technical production depends on a coherent and engaging story.

Taken together, the nominations offer Ghanaian filmmakers an opportunity to measure their work against productions from across the continent. They also provide a platform for the country’s film professionals to strengthen industry relationships, exchange ideas and explore possibilities for collaboration beyond the domestic market.

BEYOND TROPHIES: BUILDING AN INDUSTRY
REFFA’s significance, however, extends beyond the announcement of nominees and the presentation of awards. The organisers have scheduled the second edition for December 8 to 11, 2026, with a Film Culture Night planned for December 11. The final awards gala will take place on December 12 at the Palms Convention Center, where outstanding filmmakers and other industry professionals are expected to be recognised.

An African Festival Night will form part of the programme, bringing participants from different countries together to showcase their cultures and demonstrate how cultural diversity can enrich filmmaking. By creating space for cultural exchange, the organisers aim to highlight the different histories, traditions and contemporary experiences that give African cinema its distinctive character.

The programme will also include a content market intended to connect filmmakers, producers and other industry participants with potential commercial partners. This initiative addresses a persistent challenge in the creative sector: completing a film does not automatically guarantee access to distributors, investment, buyers or audiences capable of sustaining a production’s commercial life.

Through exhibitions for filmmakers and producers, the content market is expected to provide a space for industry participants to present their work and establish professional relationships. A preview room will allow producers with completed projects to showcase their content to distributors, aggregators and prospective buyers, creating opportunities for discussions about acquisition and distribution.

The festival will further provide opportunities for filmmakers and creators to pitch their ideas and projects directly to investors. If effectively implemented, such engagements could help promising productions secure financial backing, encourage business partnerships and improve the prospects of moving projects from development to completion and distribution.

For African cinema, the value of these connections cannot be overstated. Filmmakers require more than creative recognition to build sustainable careers; they also need financing, reliable distribution channels, professional networks and access to audiences across borders. By bringing these interests together, REFFA is seeking to position the festival as a space where artistic ambition can meet commercial opportunity.

As preparations continue for the December gathering, the 314 submissions from 36 countries provide a strong foundation for the festival’s second edition. The nominations have already placed a spotlight on a range of productions and creative professionals, while the planned industry activities offer an opportunity to deepen conversations about the future of African filmmaking.

The long term measure of REFFA’s success will ultimately lie not only in the films honoured or the number of countries represented, but also in the opportunities created for filmmakers after the festival closes. By combining recognition, cultural exchange and industry networking, the festival has the potential to contribute to a more connected and visible African film sector. For the nominees, December will bring the prospect of awards; for the wider industry, it will offer another opportunity to turn the continent’s storytelling talent into lasting artistic and commercial achievements.

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