Africa’s paid television and online streaming market is forecasted to reach USD 5.2 billion by 2030, according to a study conducted by Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) and the African Export-Import Bank (Afreximbank). However, the report warns that this growth does not ensure that African films will effectively reach audiences or provide sustainable returns for filmmakers.
The report, titled *Made in Africa, Watched Globally?*, was developed by Dalberg under Afreximbank’s Creative Africa Nexus (CANEX) programme. It focuses on six African countries: Egypt, Kenya, Nigeria, Rwanda, Senegal, and South Africa, informed by 91 stakeholder interviews, a survey of 1,630 viewers, and five case studies.
Audience Engagement and Quality Concerns
The study highlights the necessity of both engaging storytelling and high production quality to attract viewers. In Rwanda, 56 percent of survey respondents indicated that disinterest in local themes hindered their consumption of African films. Meanwhile, in South Africa, 98 percent cited acting quality as important, and 96 percent considered plot and technical quality vital in their film choices. This reveals a dual challenge for filmmakers: creating relatable narratives while meeting audience expectations for quality.
Moreover, the report suggests limited availability of films poses another significant challenge. In Kenya, 52 percent of respondents noted difficulties in finding local and African films on mainstream platforms. The study advocates for improved audience-data systems that monitor viewer preferences and spending habits to better inform content creation and marketing strategies.
YouTube is identified as a crucial channel for viewer engagement, with 87 percent of Kenyan respondents and 98 percent of Senegalese respondents using the platform for streaming. Yet, generating sustainable revenue remains a hurdle for producers, as advertising income is limited, and monetization opportunities vary.
Highlighting the evolving landscape, YouTube will increase eligibility requirements for channels seeking advertising and revenue sharing in the YouTube Partner Program starting February 1, 2027. This adjustment demands new channels to achieve 1,000 subscribers along with either 8,000 qualified watch hours in the past year or 20 million qualified views of Shorts in the last 90 days. While existing channels remain unaffected, these changes raise the monetization barriers for emerging African filmmakers on the platform.
Infrastructure challenges further limit film distribution, with Africa having approximately one cinema screen for every 787,000 people, in contrast to one per 8,700 in the United States. Most cinema screens are concentrated in major cities; for instance, about 90 percent of Egypt’s cinema screens are located in Cairo and Alexandria.
Viewing films on mobile devices offers an alternative, but high data costs present a significant obstacle. In many African markets, 1GB of mobile data equates to around 3.1 percent of monthly income, exceeding the global affordability benchmark of 2 percent. A survey by South Africa’s National Film and Video Foundation in 2026 indicated that 31 percent of respondents labeled mobile data for watching videos as expensive.
The report suggests potential for expanding film access through affordable streaming models. Options could include ad-supported services, offline downloads, and video packages bundled with budget-friendly data plans. Successful case studies from the region demonstrate the viability of these models, like Senegal’s Marodi TV, which has amassed 8.67 million YouTube subscribers and generated 4.6 billion views through free, ad-supported content.
Another critical finding is the need for robust distribution networks in African film financing. The closure of platforms like Showmax and shifts in commissioning practices by international streaming services have negatively impacted funding and distribution avenues for local productions. To address this, the study promotes investment in African-owned platforms and suggests the creation of national distribution funds to aid local productions in marketing and distribution.
Osahon Akpata, CEO of CANEX Creations Incorporated, emphasized the importance of aligning African creativity with enterprise growth, highlighting the potential for films to drive economic benefits across the continent. Akpata stated, “This requires investment across the entire film value chain, alongside stronger African-owned enterprises capable of bringing local productions to regional and international markets.”
The report concludes that African filmmakers can also influence public discourse on social issues. Examples include a documentary in Senegal that led to governmental action following its screening. The study urges stakeholders to invest in local screenings and discussions to further promote relevant themes within films and track changes in public attitudes.
