Ghanaian-American filmmaker Leila Djansi has publicly criticized the National Film Authority's (NFA) appeal for public donations to the Ghana Film Fund. She argues that the fund should generate investment rather than depend on charitable contributions from citizens. This critique highlights a fundamental debate about the sustainable financing of Ghana's creative industries.
Djansi, an award-winning filmmaker, stated that it is inappropriate to ask Ghanaians for donations when the necessary structures for a commercially viable film industry are not yet in place. She believes a Film Fund should function as an investment vehicle that attracts further investment, not as a charity. This perspective challenges the NFA's current fundraising strategy, which seeks public financial support.
This discussion occurs within a broader context of Ghana's efforts to develop its creative economy and reduce reliance on traditional sectors. The film industry, like other arts sectors, has historically struggled with consistent funding and infrastructure. Djansi's comments resonate with ongoing calls for strategic government intervention and private sector engagement to foster sustainable growth in these areas. The debate underscores the importance of robust policy frameworks for economic development.
In a Facebook post, Djansi questioned, "Back to the NFA. why ask Ghanaians to donate instead of using the government’s allocation to generate more money?" She further elaborated, "A Film Fund should be an investment that generates more investment, not a charity that begs for donations." Her statements underscore a belief that the NFA should focus on creating an enabling environment for the industry to thrive financially.
Djansi also rejected the idea that platforms like YouTube could serve as the long-term economic solution for Ghana's film industry. She pointed out that YouTube is merely a platform, not a self-sustaining industry capable of replenishing a government film fund. This view contrasts with some prevailing opinions on digital distribution models within the Ghanaian creative space.
Furthermore, Djansi cautioned against Ghana modeling its film industry on Nigeria's Nollywood, citing different market realities. She explained that Ghana lacks Nigeria's population size, celebrity ecosystem, and extensive distribution network. Copying Nigeria's model contributed to the collapse of Ghana's industry years ago, she noted, and repeating this approach will not yield different results. This emphasizes the need for a tailored national strategy.
Instead, Djansi proposed using the Film Fund to attract international productions through competitive tax incentives and grants. She suggested setting a minimum spend threshold, such as GHS 1.5 million, for these foreign productions. This approach aims to inject significant capital and expertise into the local industry, creating a cycle of growth.
Drawing parallels with film incentive programs in the United States, Djansi highlighted that Georgia offers a 35% tax credit for qualifying productions. New Jersey provides an even higher 40% tax credit, successfully attracting productions that spend heavily in local economies. These examples demonstrate how strategic incentives can stimulate economic activity and generate revenue.
International productions filming in Ghana would spend money on hotels, transport, catering, construction, equipment, locations, and local crews. This economic activity would generate revenue for the country, which the government could then reinvest into the Film Fund. This creates a sustainable cycle of growth, moving away from a reliance on fundraising.
Djansi's consistent advocacy for foundational structures before funding has been evident in previous statements. In a March 2025 opinion article, she argued that the government should "fix foundations before funding Ghana’s film industry." She reiterated this stance during a Hitz FM interview last year, emphasizing the importance of a viable distribution system over a mere film fund.
The NFA's response to these criticisms, and its future strategy for the Ghana Film Fund, will be crucial to watch. Decision-makers in the creative sector and government will need to consider these arguments carefully. The outcome will significantly impact the long-term commercial viability and international competitiveness of Ghana's film industry, affecting jobs and economic contributions.