The creative professional earned recognition in the Best Picture category as producer of the film and also received a nomination for Performance by an Actress in a Supporting Role for her role in the production.

The double nomination marks a significant milestone in Asante’s growing career in Ghana’s film industry.

Before venturing fully into filmmaking, Ella Asante began her creative journey in Italy, where she gained attention through comedy skits and online content. Her passion for storytelling and entertainment eventually led her into acting, paving the way for a career in film.

Over the years, she has featured in several film productions, steadily building experience and refining her craft as an actress. Her work in the industry later opened doors to collaborations with filmmaker Lloyd Aboagye, with whom she has appeared in multiple productions.

Her latest project, KONE: The Depth of Friendship, has become one of the most talked-about Ghanaian films of the year. Produced by Ella Asante and directed by Lloyd Aboagye under Ninth November Films, the movie explores themes of friendship, loyalty, honesty, and moral choices within a fishing community.

Aside from her responsibilities as producer, Asante also delivered a supporting performance that earned her recognition among this year’s nominees.

Meanwhile, industry players have praised her ability to balance both acting and production, describing her journey as a testament to hard work, consistency, and dedication.

With KONE securing 10 nominations overall, Ella Asante heads into the awards ceremony as one of the key figures behind one of the strongest contenders of the season.

The 2026 Ghana Movie Awards will take place on Sunday, June 7, at the Kempinski Hotel in Accra.

For Ella Asante, the nominations represent not only personal achievement but also another milestone in a career that has seen her evolve from a skit creator in Italy to a recognised actress and producer within Ghana’s growing film industry.

ALSO READ:

Movie stars, family gather for emotional one-week observance of Beverly Afaglo…

Sadness grips Nollywood as another veteran actor passes on

This latest international recognition is another proud moment for Ghana and a powerful testament to the creativity, originality, and global appeal of Ghanaian storytelling.

Directed by Big Ghun and starring Jeffrey Nortey, Vibes The Movie evolved from the hugely successful social media series, where the beloved characters Obolo Tui and Lil Pui captured the hearts of millions with their unique blend of rap, comedy, and relatable stories about the everyday struggles and ambitions of Ghanaian youth.

The film has already brought honour to Ghana on the international stage, most recently winning an Outstanding Achievement Award at the American Motion Pictures Festival.

The Chronicle noted that the film was recognised for its originality, craftsmanship, and storytelling impact among a competitive pool of global entries.

Now, with a nomination at the Toronto International Nollywood Film Festival (TINFF), Vibes The Movie continues its remarkable journey from the streets of Accra to some of the world’s most respected film platforms.

The nomination underscores the growing global appreciation for authentic African stories and confirms that Ghanaian filmmakers are making a significant mark in international cinema.

As Vibes The Movie flies the Black Star high in Toronto, Ghana celebrates yet another cultural achievement that showcases the country’s talent, resilience, and storytelling excellence to the world.

Congratulations to the entire Vibes The Movie team for making Ghana proud once again.

READ ALSO:

Kojo Antwi extends memoir launch across continents

Nima Market fire victims to receive GH¢5,000 each from Baba Jamal

The Action Xtreme Masterclass Series is designed to spotlight screen talent across Africa, beginning with actors and their experiences working within Nigeria’s film industry, with wider relevance for creatives across the continent.

The initiative will be hosted by Trevor Hakim of The New Black Film Collective and is expected to run over nine months, featuring a series of conversations focused on industry experience, craft and career development.

The first phase will centre on actors from the action thriller Son of the Soil, currently streaming on Netflix Africa, using the film as a reference point for discussions on performance, opportunity and global visibility.

Speaking at the launch, Action Xtreme CEO Chee Keong Cheung said the initiative is designed to create meaningful industry conversations that support emerging talent.

“This series is about knowledge-sharing, inspiration and visibility. By spotlighting actors working at the forefront of the Nigerian film industry, we want to create meaningful conversations that support emerging talent and celebrate the richness of African screen storytelling,” he said.

The British Council, which is supporting the initiative, said the programme aligns with its focus on skills development, professional standards and cultural exchange across creative industries.

Nile Media Entertainment Group also described the masterclass series as an important step in strengthening Africa’s film ecosystem and preparing talent for global opportunities.

Central to the programme is Son of the Soil, a UK–Nigeria co-production that has screened internationally and received multiple awards, including honors at the Black Star International Film Festival, Best of Nollywood Awards and the Audience Choice Award at AFRIFF.

Participants include Razaaq Adoti, Damilola Ogunsi, Ireti Doyle, Sunshine Rosman, Taye Arimoro, Philip Asaya, Emeka Golden, Sharon Rotimi and newcomer Ijelu Folajimi.

Rather than traditional panel discussions, the sessions are structured as open conversations focusing on acting techniques, auditions, self-tapes, script interpretation, on-set collaboration and building sustainable careers in a fast-paced industry.

The discussions will also explore broader themes such as personal branding, visibility in the digital era, diaspora representation and the growing global reach of African cinema.

The initiative is being positioned as a platform with wider African relevance, with potential opportunities for collaboration and skills development across markets such as Ghana, Nigeria and beyond.

Organisers say the actor-focused sessions mark the first phase of a wider initiative, with future editions expected to spotlight directors, producers and crew across the film value chain.

Speaking on Daybreak Hitz on Hitz FM, he noted that while the industry is not at its best, it has the capacity to grow significantly.

According to him, the focus on quality over quantity explains why fewer productions are being made, as creating high-quality content requires time and resources.

He acknowledged the contribution of platforms like Akwaaba Magic, which he said are helping to support and promote the industry.

Drawing comparisons, he stated that the United States built much of its global cultural influence through Hollywood, using films to communicate stories and policies.

He suggested that Ghana could adopt a similar approach by using films to explain key national policies such as the 24-hour economy and LGBTQ issues to the public.

Mawuko Kuadzi further urged the government to make a deliberate effort to fund the film industry, particularly as the country approaches its 70th Independence anniversary, to help project Ghana globally.

While commending the government for the GH₵20 million support pledged in the national budget, he described it as a good starting point but called for increased funding.

He proposed that resources should be channelled into producing and marketing at least one high-quality film capable of competing on the international stage, including at the Oscars.

He also suggested adopting a model similar to fundraising efforts for the World Cup, where stakeholders, including top creatives like Shatta Wale and Stonebwoy, are brought together to support the film industry.

“If we don’t invest properly, we cannot go far,” he stressed, adding that strategic funding will be key to pushing Ghana’s film industry to greater heights.

St. Augustine’s College threatens legal action over decision to re-run Sharks Quiz tie-breaker

Old Students of Ola Girls SHS push for discipline among students

CAC Pastor calls for support for brilliant but needy students in Ahafo Region

Speaking on Joy FM’s Showbiz A-Z, Ben South said this is his second movie project after building a strong reputation through his popular online skits.

“Some of the actors took GH¢2,000, some took GH¢3,000. The entire budget for the production is 5,000 dollars; that is GH¢ 60,000 cedis,” he disclosed.

Explaining the choice of title, Ben South said he wanted something unpredictable. According to him, some movie titles give away too much of the storyline, but he wanted to create curiosity and suspense.

“I chose the title ‘24’ so people could not easily predict the storyline,” he added.

24 features actors Maame Serwaa, AJ Brown, and Quecy Official, who have all appeared in several Ghanaian short films and digital series.

Ben South, known for his creative skits on YouTube and social media, previously produced the short film Wrong Target, which earned positive reviews for its direction and cinematography.

The filmmaker hinted that 24 explores human emotions and moral choices within a 24-hour period and will premiere later this year.

Source: Joy Entertainment   

Speaking on Daybreak Hitz, the outspoken actress said although some of her colleagues criticise her for being vocal about the state of the industry, she will not relent.

She stressed that her commitment is for the benefit of younger actors entering the field.

“I used to say the Ghanaian film industry is not worth dying for but I have changed my mind. Because I think that I am fighting for the next generation of film makers. Not the people who think they are okay, who think they are satisfied, they are content with where they are; with where they are movie industry is. I am fighting for the next generation,” she said.

According to her, many young actors frequently reach out to her, expressing their frustrations and urging her not to give up her advocacy.

In an Instagram post published on 15th July 2025, Sarfo lamented that the talents of many Ghanaian actors who could thrive elsewhere, particularly in Nigeria, are being wasted at home.

“Honestly, if you’re in Nigeria as an actor, you’d realize that you’ve REALLY WASTED YOUR TALENT back in Ghana,” she wrote. “As in, people are shooting on a daily basis, back to back, non stop. Meanwhile, in my country Ghana, producers STRUGGLE to even shoot one film in a year.”

She described the situation as “CRAZY” and “totally disheartening,” questioning what had gone wrong in an industry that once flourished. “What has happened to our industry??? Talents are BEING WASTED. Mercy Lord,” she added.

Her comments drew mixed reactions, with some lambasting her for portraying Ghana in a bad light.

Gloria Sarfo has featured in a number of productions including Efiewura, The Perfect Picture, Aloe Vera and Adam The Eve.

Source: Kwame Dadzie

Organizers and international guests encouraged Ghanaian filmmakers to engage more, collaborate widely, and seize opportunities to showcase their work internationally.

BSIFF President Juliet Asante emphasized that the festival is more than just screenings; it is a catalyst for industry growth. She highlighted the importance of networking, knowledge-sharing, and creating pathways for Ghanaian films to reach international audiences.

“Opportunities to showcase our films globally exist, but they require us to show up, collaborate, and engage fully with industry players,” she said. She also revealed that BSIFF is developing partnerships, including plans to premiere selected Ghanaian films in Ivory Coast, aimed at expanding the reach of local cinema.

International guests shared insights on creating films that resonate globally. Chee Keong Cheung, British-Chinese director of Son of the Soil, which had its world premiere at the festival, encouraged Ghanaian filmmakers to focus on storytelling, collaboration, and education within the industry.

“Cinema is a universal language. Finding stories that connect both locally and internationally is key, and collaboration across production, distribution, and exhibition helps bring these stories to wider audiences,” he said. He added that he is keen on producing future projects in Ghana, noting that the festival provided an ideal opportunity to understand the local market and identify new talent.

Ghanaian-American actress Aba Arthur urged local filmmakers to embrace Ghanaian narratives rather than only admiring foreign cinema.

“There is immense talent here at home. Platforms like BSIFF are designed to help us collaborate, share skills, and tell stories that reflect our culture. By investing in our own industry, we can reach global audiences without losing our authenticity,” she highlighted.

Actor Razaaq Adoti also emphasized the importance of persistence in filmmaking. “I would have premiered in Nigeria, but being invited to BSIFF, I decided to premiere in Ghana. Ghanaian filmmakers must keep producing, learn from experiences, and face obstacles head-on. Challenges exist everywhere, even in Hollywood, but it all depends on how they are tackled.

That’s how local films can reach international platforms,” he said.

The festival, themed The Relevance of Film in Society, also hosted workshops, masterclasses, and networking sessions, providing participants with tools and connections to thrive both locally and internationally.

As BSIFF marked its tenth anniversary, Juliet Asante reiterated the need for mindset shifts and active engagement for industry growth.

“One of the major issues we face is that we say we want change, but we do not want to change. We want things to be different, but when it comes to actually shifting our mindset, our structures, or our approach, there is resistance. And that makes it very difficult to move forward as an industry,” she stressed.

Source: Irene Adubea Aning

Speaking at the tenth edition of the Black Star International Film Festival (BSIFF) in Accra, Cheung said these narratives have the potential to compete on the global stage if given the right platforms.

“Cinema is an incredible medium that unites people. The more we share knowledge, the more opportunities arise. Education and collaboration are essential for African stories to thrive globally,” he remarked.

Cheung highlighted that one of the main challenges African filmmakers face is the lack of structured education and understanding within the industry, especially regarding production, distribution, and exhibition.

“There is often a disconnect globally. Creatives sometimes work in silos. Encouraging more collaboration and understanding across the board is really important,” he explained.

He also emphasized the need to tell stories that resonate internationally while remaining authentic to local culture.

“It’s about finding the right stories that can travel, that connect with audiences across the world, while still being true to our culture,” Cheung said.

Cheung’s recent project, Son of the Soil (2025), which had its world premiere at BSIFF, reflects his commitment to showcasing African narratives. He directed the film in close collaboration with Nigerian-British actor Razaaq Adoti.

He noted that working on the project reinforced his belief in Africa’s cinematic potential. “The talent, creativity, and richness of African stories make the continent uniquely positioned to create films that resonate globally,” he said.

Cheung expressed enthusiasm about future collaborations with Ghanaian talent. “We are eager to explore opportunities here in Ghana. One of the reasons for coming to the festival was to explore the market and uncover new talent. We are very interested in developing films and collaborating with local creatives,” he added.

He concluded by stressing the importance of attending events like BSIFF to network with international filmmakers, build relationships, and ensure African stories reach global audiences.

Source: Irene Adubea Aning

ALSO READ:

• Black Panther star John Kani outlines plans to groom young African filmmakers

• Kuami Eugene names favourite Ghanaian actors, bemoans lack of local films on streaming platforms

Speaking at the tenth edition of the Black Star International Film Festival (BSIFF), she cautioned that while Ghanaian cinema has immense potential, many creatives spend more time celebrating Nollywood, Bollywood, or Hollywood rather than strengthening their own platforms and collaborations.

“We love Nollywood, we love Hollywood, but we are Ghana. We have to hold on to what makes us unique and boldly create our own lane,” she said.

Arthur emphasized the importance of using platforms like BSIFF to showcase local talent, exchange ideas, and foster partnerships. She encouraged filmmakers to take advantage of such opportunities rather than staying on the sidelines.

“There is so much talent sitting at home. This festival is about using your natural abilities, sharing, and collaborating with fellow filmmakers. After this weekend, we must continue to speak to each other, pick up what we can from everyone else, and keep collaborating,” she added.

She noted that admiration for international cinema should go hand in hand with intentional collaborations at home. By forming partnerships, exchanging skills, and supporting each other’s projects, filmmakers can strengthen the local industry and elevate Ghanaian stories on the global stage.

Arthur concluded by calling on Ghanaian filmmakers to invest in their own narratives, support local initiatives, and actively participate in platforms like BSIFF to build a sustainable and thriving industry.

“For us to succeed, we must celebrate our stories and take ownership of our platforms. Admiring others is meaningless if we neglect our own industry,” she urged.

Source: Irene Adubea Aning

ALSO READ:

• George Quaye petitions Ministry of Tourism, Arts and Culture over ‘Black Star Films’ name

• Black Star Experience, AfCFTA and ATP to host Creatives Connect Afrika in November

Speaking on Daybreak Hitz with Kwame Dadzie and Doreen Avio on Hitz FM, Quashigah explained that although several private film awards exist, a state-led initiative will provide broader recognition and help elevate the sector.

“It’s important that we have an award programme as part of our agenda to push interest in Ghanaian films. Award shows provide recognition in the industry. When we are able to put that together, it throws some light on the winners as well as the whole industry. So it is important that we have something like that. There are a couple of them that are there but we need to have a national one,” he said.

His remarks came after the NFA hosted its maiden national dialogue on Wednesday, September 16, 2025, at the Cedi Conference Centre, University of Ghana. The event brought together filmmakers from across the country.

Among the initiatives outlined by the Authority were plans to reach 1% of Ghana’s population through film distribution, launch “cinema on wheels,” establish film clubs in schools, dub films into French and local languages, integrate film and tourism, introduce “cinema in the park,” and develop regional cinema partnerships.

About the National Film Authority

The National Film Authority was established under the Development and Classification of Film Act, 2016 (Act 935). Its mandate includes evolving a dynamic, economically self-sustaining, and culturally conscious film industry in the national interest. It also promotes a conducive environment for film production, distribution, exhibition, and marketing, while projecting the identity and image of Ghana locally and internationally.

The NFA further regulates foreign participation in the film sector, enforces ethics and technical standards, licenses film-exhibition premises, classifies films for public exhibition, manages the Film Development Fund, and ensures compliance with copyright and royalties laws.

Source: Kwame Dadzie

Speaking to Joy Prime’s Roselyn Felli on the Changes show, the ‘Mo’ hitmaker emphasised that resilience and being God-fearing are crucial qualities often missing in the current generation of gospel singers.

“In this industry, you need to be tough and hold on to God tightly because when you adhere to God’s will, He takes care of your needs for you. If you don’t toughen yourself in this workspace, I tell you that you won’t be able to survive,” she said.

Having spent over two decades in the industry, Piesie Esther has experienced both positivity and controversy, yet remained determined and focused.

“I have encountered a lot of things, and God has brought us this far. Sometimes, the attitude some people show you makes you feel like you don’t belong. But when you know where you’re going, you’ll not allow anybody to cause you to lose focus,” she added.

She encouraged all budding gospel musicians to stay focused, seek God’s guidance, and assured them that perseverance will eventually lead to success.

Source: Joan Nyaame

Arinze, who is President of the Association of Voice Over Artists in Nigeria said reports of a blanket ban were misleading.

Speaking in an interview with Kwame Dadzie and Doreen Avio on Accra-based Hitz FM, he explained that the directive had been misinterpreted.

“CNN had an interview with me on that. So this is it. We said ‘stop taking it out of the country. The Director General of the Advertising Regulation Council of Nigeria called me and said this is what they were going to do. I knew what they were going to do.

He said they were tired of advertising agencies taking the jobs to the UK and South Africa to shoot. Because they were trying to make money and then you were leaving the young talents. So why don’t leave all those things here, do them here? No voice-over talent in America will come to Naija to come and produce or shoot the advert. They won’t, unless it’s intentional. Unless there is a reason for it,” he told Kwame and Doreen on Daybreak Hitz.

“It wasn’t like a blanket ban. We just said please stop taking them out for now. Even for modelling, do them. Why would take Ghanaian for like ‘bofrot’ to the UK and go and shoot [an advert for] it with white kids and bring it back and say ‘bofrot.’ So how do the kids relate to it. So you do it in such a way that you shoot it in Ghana here so the kids can relate. So that is what exactly the Advertising Regulation Council was saying,” he further explained.

Ghanaian actor and playwright Andrew Tandoh Adote, who was also on the show, confirmed that adverts he voiced are currently running in Nigeria.

Background to the directive

In August 2022, the Federal Government of Nigeria, through the Advertising Regulatory Council of Nigeria (ARCON), announced a ban on the use of foreign models and voice-over artists in advertisements targeted at or exposed on the Nigerian market.

The directive, which took effect from 1st October 2022, is backed by the Advertising Regulatory Council of Nigeria Act No. 23 of 2022. ARCON says the law gives it authority to enforce the measure.

Under the rules, all adverts and marketing communications in Nigeria must use only Nigerian models and voice-over artists. Ongoing campaigns at the time were allowed to run their contracts, but once expired, applications for revalidation were not to be granted if they violated the new regulation.

ARCON stated that there were no exemptions, whether for television commercials, print adverts, billboards or other advertising formats.

The rationale, according to the Council, was to develop local talent, promote inclusive economic growth, retain more advertising revenue within the country, and ensure greater use of indigenous skills and representation in the sector.

Source :Kwame Dadzie

In a video posted on his Instagram page, the actor said he has chosen to change his own approach. “I have decided to take my destiny in my own hands as it pertains to my platform on YouTube,” Kanayo declared.

“Movie making is not about having a fine face, it’s about being a good actor, a good performer. So, with or without a fine face, that’s what I’ve decided to do. If you don’t like it, well, that’s quite unfortunate.”

“There was an incident many years ago when we were trying to bring up this Nollywood business, about 25 years ago. Some sponsors woke up and started branding actors: ‘this one is not a good one, this one does not sell films.’ They killed the careers of those guys,” he said.

The actor explained that YouTube producers are now creating a similar problem by giving roles only to a small circle of actors.

“Such a thing is beginning to rear its ugly head again. The acclaimed YouTube faces are beginning to bring up the same thing, killing talents in the industry,” he lamented.

He added that this “monopoly of faces” makes it hard to sustain creativity and encourage new performers.

“Some of these guys will tell you they are not free from September 2025 till August 2026. How then do we sustain the content you watch? How do we create magic? How do we encourage new actors to come into the business?” Kanayo asked.

The Nollywood veteran stressed that he wants to be chosen for jobs because of his ability, not popularity. “I don’t want any producer to call me for a job because I’m a selling face on any platform. Call me because I can deliver,” he said.

Although frustrated by the trend, the actor remains hopeful. “I don’t know why when things come to Nigeria, there’s always a somersault, and this somersault is happening now on YouTube. But I want to employ my life’s philosophy to say: This too shall pass,” he concluded.

Source: vanguardngr

The event, which will primarily bring together film crew members, aims to provide a platform for networking, collaboration, and the promotion of high professional standards in filmmaking.

Speaking on Hitz FM’s Daybreak Hitz with Kwame Dadzie and Doreen Avio, Leila explained that the idea was inspired by a social media post she made on August 29, urging filmmakers to pay more attention to crew members who play crucial roles in production.

“The first thing the Ghana film industry NEEDS… before anything else is well-trained and efficient crew in all film departments. Post haste! The fact that you almost always have to fly more than 50% of this crew in is really sad. This is the edge South Africa has over Ghana when major films consider filming locations. We will discuss the bad roads and lack of standardized rates later,” she wrote.

According to her, the networking mixer aligns with the gap she identified in Ghana’s film industry and will serve as a step toward bridging it.

Leila Djansi is renowned for films such as Ties That Bind, Like Cotton Twines, Sinking Sands, and I Sing of a Well.

Source: Joy Entertainment 

Speaking on The Career Trail programme, he revealed that while he usually begins with a working title, the final choice often emerges from group brainstorming.

“I work with a working title when I’m writing, but the group can override it. Through brainstorming, they may decide another title works better, and that becomes the title,” he said.

According to him, the recurring focus on love is intentional.

“Most of them are love-scented, emotion-scented, because I love love. In my mind, I am a love ‘aplanke’. I love a good love story,” he remarked.

Uncle Ebo Whyte stressed that, unlike formal education that teaches various life skills, the most vital skill—building and sustaining relationships—is often overlooked.

“You can have all the degrees, you can even be President, but if your love life, your relationship with yourself, your spouse, your children, is not working, forget it. You are a miserable person,” he said.

Married for 41 years, the veteran playwright added that his personal journey has shaped this philosophy.

“I’ve learned a few things and made a lot of mistakes. But if you share your mistakes and others learn from them, then those mistakes have become useful,” he noted.

For him, theatre is not just entertainment but also a tool for teaching lessons about love, relationships, and self-discovery.

“There’s no school for love, yet it’s the one thing that can make or break your life. That’s why I centre my plays on love—to share insights that help people build better relationships,” he explained.

He believes this approach has resonated with audiences, guiding many through the complexities of love and family life through the power of storytelling.

Source: Irene Adubea Aning

Speaking on Hitz FM’s Daybreak Hitz with Kwame Dadzie and Doreen Avio, Djansi urged industry players to explore more sustainable channels instead of placing their financial hopes on the streaming site.

“Personally, I don’t believe in the film fund. I think it is premature because there is no proper distribution. If you give the film fund, how are they going to make profit? People think we are just going to put films on YouTube. I’m sorry, YouTube is going to collapse very soon. There is too much congestion, and they are always changing their policies. If you oversaturate it, they reduce the earnings. So how much can you really make if you just put your film there?” she said.

Djansi argued that a government-backed film fund would be wasted if movies ended up on YouTube, stressing that piracy further weakens the platform’s viability.

She also raised concerns about the shortage of qualified film crew in Ghana and announced the Film Crew Networking Fixer, scheduled for Sunday, 24 September 2025, at the Kwame Nkrumah Memorial Park at 6:30 pm. The event will serve as a platform for professionals across the film value chain to connect and collaborate.

Source: Joy Entertainment

More than just a film, LEGACY AFRICA positions itself as a mirror held up to the continent, placing Africa at the heart of its narrative. It portrays a land of immense potential but still burdened by deep-rooted challenges.

At its core is a critique of leadership, exposing how some leaders misuse political power for personal enrichment while neglecting the needs and aspirations of their citizens.

The film, however, goes beyond exposing corruption. It challenges Africa’s youth—the next generation of leaders—to redefine leadership and resist the view of politics as a gateway to wealth. Instead, it urges young people to harness political influence as a force for good: to confront poverty, inequality, and underdevelopment, and to build a continent anchored in accountability, innovation, and service to its people.

Released at a time when conversations on governance, youth empowerment, and Africa’s future are gaining urgency, LEGACY AFRICA seeks to serve not just as entertainment but as a catalyst for change—a reminder that the destiny of the continent rests on the decisions its young leaders will make.

The film features Dr. Robert Peprah Gyamfi, Patrick Koomson, Joseph Baafi, Cherry Akosua Agyapongmaa, Nana Kay Abrantie, Mrs. Edna Aryetey, Kingsley Kwamina, Ayew Yamoah, Vicky Zugah, Ofori Cindy, Queen Doe Kuglo, Emmanuel Appiah, Naya Pratt, Nii Global Sackey, and Firdaws Alhassan.

It was produced by Dr. Peprah Gyamfi and directed by Confidence Losu.

Below are photos from the red carpet

In a live TikTok session, McBrown disclosed that she had undergone her fifth surgery on her arm due to persistent pain and complications from a previous condition.

She explained that her arm had become crooked, making it impossible to continue working without relying heavily on painkillers.

“You all saw that my arms were not really looking good. If you watched McBrown’s Kitchen lately, you’d notice I was struggling. Those were my last recordings, and before I could finish, I had to take a lot of painkillers,” she said.

The actress reassured fans that she would return to the screen soon, but for now, she is prioritising her health and adhering strictly to medical advice.

“Until you go through a fracture or surgery like mine, you can’t truly understand what I’m going through—the pain I endured,” she added.

McBrown noted that both her doctors and fans have urged her to take the necessary time to rest and recover fully.

“I’m going to be home for a while to go through the healing process,” she stated.

She concluded by appealing for continued prayers and expressing heartfelt gratitude for the overwhelming love and support from fans during this challenging period.

Source: Graphic Showbiz

In his latest skit, which has rapidly gained traction online, Jeffrey Nortey tackles the subject of fibroids, delivering a thought-provoking performance that blends humour with raw emotion.

The short but impactful skit opens with a seemingly light-hearted confrontation between a couple. The female character accuses her partner of fixating on her changing body — particularly her stomach — and misjudging it as weight gain caused by overeating.

As the exchange unfolds, the real story emerges. She reveals she has been battling fibroids, a condition that has left her in pain, caused her to bleed for weeks, and made her abdomen swell significantly.
Her revelation hits a nerve, especially as she explains how the pain and emotional toll have been compounded by her partner’s insensitivity.

The scene shifts dramatically from playful banter to a heartfelt plea for understanding, highlighting the psychological and physical burden many women endure in silence.

“I needed comfort, not criticism,” she says, confronting the tendency of loved ones to pass judgment before asking what’s truly wrong. The male character, played by Nortey himself, is remorseful and quick to act, offering to accompany her to see a doctor and expressing concern that the fibroids may even be affecting their ability to conceive.

The skit doesn’t just stop at emotional impact — it also slips in valuable information about the condition, noting that fibroids can be treated, managed, or surgically removed.

The final moments take a humorous twist when intimacy is ruled out due to the pain, and the urgency to seek medical help becomes the closing note. This blend of education, empathy, and entertainment has resonated widely with viewers.

Comment sections across platforms have been flooded with emotional reactions and shared personal experiences.

Renowned broadcaster Israel Laryea praised the skit, writing, “Educating the public about critical health matters through content creation. This is how it should be done. Ayekoo! You’re doing well.”
Another viewer, Rebekah, reflected on her own experience, saying, “People will see you and ask if you’re pregnant cos of your tummy size. The silent battles we fight.”

Others highlighted the broader relevance of the message. Delly, who has been living with Polycystic Ovary Syndrome (PCOS) for over a decade, shared how this type of content validates the quiet struggles of many women whose physical changes are often misunderstood. “People around me will comment on my weight gain as if it’s a casual thing. I decided to take charge of my story and not let anyone dictate how I feel,” she wrote.

The responses underline a growing public appreciation for digital content that touches on under-discussed health issues, especially those affecting women. While the skit may have ended on a humorous note, it left behind a serious message that many viewers carried away.

This isn’t Jeffrey Nortey’s first foray into using storytelling to highlight reproductive health matters. He previously released a skit shedding light on the realities of menstrual health, which similarly drew widespread attention and commendation.

With a clear interest in using his platform to break societal taboos and foster awareness, Jeffrey Nortey continues to carve a unique space at the intersection of performance and public health education.

Source: Amelley Djosu

The debate was reignited after film producer and director Shirley Frimpong-Manso expressed disappointment in an interview with Doreen Avio on Hitz FM, stating that Ghanaians appeared more excited about Tyler Perry’s new film Straw than her own project, Chasing Lullaby. Shirley suggested that Ghanaians have failed to support their own filmmakers.

While some sided with her, many others argued that the comparison was unfair and failed to take into account the level of investment Perry puts into his productions and promotion.

Leila Djansi took to Facebook to share her perspective, highlighting how Tyler Perry earned his support over time through authenticity, service, and commitment to his community.

“Let’s get one thing straight. Tyler Perry did not wake up one morning to that level of support. I used to attend his plays in Georgia. That man built his audience from the ground up. He carried his entire community with him… He never served Hollywood. He served his audience,” she wrote.

Leila, known for films such as Ties That Bind, Like Cotton Twines, and Where Children Play, further bemoaned what she described as clique behaviour, envy, and a lack of community spirit among Ghanaian creatives.

“In Ghana, too many people operate in cliques. Gossip cliques. You only reward people in your circle… And when Ghanaians, ordinary people, buy your movies, you reward them by posting pictures of your Gucci purse,” she added.

The filmmaker also suggested that unlike other audiences who focus primarily on the value of the work itself, Black communities often tie support to personal perception and emotional investment in the artist.

“There’s this thing I learned about us Black people. We use support as reward. We reward you with our support if we are happy with you,” she wrote.

Leila went on to share personal experiences where her efforts to support Ghanaian filmmakers were met with resentment or sabotage, leading her to withdraw from such efforts altogether.

She concluded her post with a critique of what she views as the toxic culture among some industry players and called for a shift in mindset, reminding creatives that storytelling is ultimately about service, not self-promotion.

“Being a storyteller is about service. Not fame. That gift is God’s gift. Use it to serve his earth. It’s not about you!” she noted.

Leila Djansi is a Ghanaian-American filmmaker known for tackling social issues through her works. She studied film in the United States and has earned awards and recognition for her strong female-led narratives and commitment to both African and diasporan storytelling. She has often spoken out about challenges in the Ghanaian film industry, particularly around professionalism, support systems, and creative integrity.

Speaking on Daybreak Hitz with Doreen Avio, the award-winning filmmaker expressed frustration over the widespread disregard for copyright laws in Ghana’s media landscape.

“I want to kill all of them. I have a personal concern and I do not watch pirated stuff — I don’t care,” she said passionately. “People have said, ‘Oh, have you seen it?’ I said no. They said, ‘Oh, use this link and you can watch it.’ I never do because I know how much it hurts to spend.”

Frimpong-Manso highlighted the intense labour and financial cost involved in producing films, stressing that each production is a demanding endeavour requiring significant resources.

“Movie making is excruciating — the money, having to have 30, 40-plus people on set every day, feeding them — it’s a lot,” she explained. “Even a five or ten-day production involves feeding everyone breakfast, lunch, and sometimes dinner. The emotional, financial, and logistical investment is massive.”

She described the emotional devastation of having those efforts undermined by piracy.

“To be able to put that movie out and have somebody just take it and show it… I can’t begin to describe it. It hurts more than anything in the world.”

Frimpong-Manso also questioned the lack of accountability and enforcement despite clear evidence of wrongdoing by media houses that air pirated content.

“I don’t understand why we know who the culprits are, and somehow they’re still out there doing it,” she said. “This is something we can’t keep warning people about — it’s a criminal offence. There’s evidence. I don’t understand why we’re babysitting this kind of thing.”

Her comments have sparked renewed calls within the industry for stricter enforcement of intellectual property laws and greater respect for the work of Ghanaian creatives.

Many Ghanaian movie lovers, critics, and film buffs took to various media platforms to comment on or analyse the film upon its release.

While some praised Straw for its storyline, which they said highlighted the challenges faced by single parents, others criticised it as another example of Perry’s overindulgence in sensationalism.

Speaking to Doreen Avio on Hitz FM’s Daybreak Hitz, film producer and director Shirley Frimpong-Manso expressed her frustration over what she described as the Ghanaian media’s excessive focus on Straw.

She argued that if local filmmakers received the same attention, it would go a long way to promote and sustain the Ghanaian film industry.

“Why are we talking about Tyler Perry’s movie when we could easily have that same attention come to a Shirley Frimpong-Manso movie?” she questioned.

Shirley lamented that despite consistently producing high-quality films, her works—and those of other local filmmakers—are often overlooked.

“We have put films out there that critically examine a lot of things. We released a film called Chasing Lullaby on Mother’s Day. It’s a film we shot a few years ago and released on our YouTube page—and you should see the film. It’s a beautiful story that talks about mothers in all forms. But I didn’t see the media pick it up and make a whole song and dance about it like they are doing with Tyler Perry’s movie. He doesn’t care about us,” she said.

Shirley, who has been in the filmmaking industry for 17 years, is widely regarded as one of Ghana’s top directors.

On 25th February 2025, she launched Sparrow Station, a YouTube channel dedicated to showcasing her film productions.

She is known for several acclaimed movies including Perfect Picture, Scorned, Life and Living It, 6 Hours to Christmas, A Sting in a Tale, and Checkmate.

According to court documents obtained by multiple outlets, Dixon first met Perry at a studio event in Atlanta. Perry offered him a small part in Ruthless before inviting him to his home in January 2020. Dixon says he drank too much and slept in a guest room, only to wake to Perry climbing into his bed and touching his thighs. Although Dixon rejected the advance that night, he soon secured a more prominent role on The Oval. Dixon alleges that Perry began sending suggestive texts and used Dixon’s character arc as leverage.

The lawsuit describes messages such as “No straight man would be going on walks with you or cooking dinner for you unless they wanted to f**k you. I would f**k you.” Dixon says he feared losing his job if he refused Perry’s advances.Matters escalated during a second visit to Perry’s Atlanta home when Perry allegedly asked Dixon “if you like it rough in bed” then grabbed him by the throat.

The most serious incident occurred in June 2021, when Dixon claims Perry entered his guest house bedroom, yanked down his underwear, groped his buttocks and coerced him with “Relax and just let it happen.” After enduring two more years of harassment, Dixon filed a complaint with the Equal Employment Opportunity Commission in June 2024 and left The Oval. He says the end of his role cost him nearly $400,000 in earnings. His lawsuit accuses Perry and Tyler Perry Studios of quid pro quo harassment, sexual assault and battery, and seeks $260 million in damages.

Tyler Perry’s attorney Matthew Boyd dismisses the claims as “fabricated” and suggests Dixon’s true motive is financial gain. “This is an individual who got close to Tyler Perry for what now appears to be nothing more than setting up a scam,” Boyd said in a statement.

Dixon’s lawyer Jonathan J. Delshad responded that the lawsuit “speaks for itself,” leaving the matter poised for a high‑stakes legal battle that could have major implications for one of Hollywood’s most prolific creators.

Speaking on The Liz Show with Elizabeth Essuman, Adjorlolo shared that during his childhood, many believed he was destined for a music career due to his natural talent.

He recounted how his musical journey began at the age of eight when he started learning to play the trumpet. Over time, his dedication led him to perform with renowned musicians, including Gyedu Blay Ambolley and Sir Victor Uwaifo.

“I love music so much that as of 8 years old, I could play the trumpet so well,” Kofi disclosed.

Despite becoming a household name through acting, Adjorlolo expressed frustration with the challenges actors face in Ghana. He pointed to the lack of support systems and the absence of insurance as major setbacks for professionals in the industry.

“Honestly, I wouldn’t encourage my children to go into acting. The current situation in Ghana isn’t encouraging, attractive, or enabling for young ones to thrive in this field. Do we even have insurance to back our actors and actresses?” he stated.

Though it stands out as a career-defining moment, KSM says his appearance in Law & Order was the result of a journey that began in childhood.

Speaking on the Career Trail program on Joy Learning TV and Joy News, KSM shared that acting was something he had been drawn to from a very young age.

“It’s very interesting because for as long as I can remember, I wanted to act. I don’t know what I saw in acting. I remember back in the day, my eldest brother went to study in the UK, and I remember writing to him, asking him to find a school in the UK for me to come and act,” he recounted.

He mentioned that storytelling came naturally to him from a young age, even when the stories were made up.

“Anytime I went out and came back, I had a story. I always had imagination, so anytime I returned, I had a story. Sometimes, I would say, ‘this is what I’m going to tell them when I get home.’ The funny thing is, my family used to tag me as a ‘liar’. Interestingly, that was the beginning of a writer,” he shared.

Driven by this passion, KSM pursued Theatre Arts, becoming one of the pioneer students at the National Film and Television Institute (NAFTI) in Ghana.

“I went to the university; it was all about Theatre Arts. After high school, I went to NAFTI for one year before travelling to the US. We were the pioneers of NAFTI,” he stated.

While in the United States, KSM honed his craft and gained invaluable experience in the acting industry. However, he noted that his first-ever film role actually came during a visit back home to Ghana.

“When I returned to Ghana during a summer break, one of my friends from NAFTI was shooting a film and featured me in it. That was my first film experience, and I truly enjoyed it,” he recalled.

Despite getting his start in Ghana, KSM revealed that his major breakthrough as an actor came in the United States when he landed a role in the long-running, critically acclaimed TV drama Law & Order.

“In the US, I got some mileage in film and in acting. I acted in a very popular series called Law & Order, which I think was my biggest deal because that series was one of the highest-rated primetime shows in the US. To appear on it was a big deal,” he said.

KSM further highlighted other significant milestones in his career, including his groundbreaking achievement as the first African to perform an original one-man show in the US, Thoughts of a Confused Black Man.

“I was the first African to have done an original one-man play on Broadway,” he proudly stated.

In addition to his success in the US, KSM’s creative vision has also made a lasting impact in Ghana. He is the mastermind behind several unforgettable productions such as Saga of the Returnee and Afia Siriboe, solidifying his position as a key figure in both the international and local entertainment scenes.

KSM advises young people to pay close attention to their natural talents, emphasizing that anything one excels at with ease is a clear indication of their gift.

“I always tell people, anything you can do that comes without effort most likely is your talent. There are people like that — you teach them computers, they just sit behind it, they know what they are doing. Whatever they do, they do it effortlessly. And I tell people to take note of that. If you can do anything without major effort but at the same time excel, most likely it’s your talent. So pay attention to that,” he urged.

He further emphasized that talent is not confined to the creative arts.

“The other mistake that people make is that they think that talent refers only to the arts — like singing, dancing, acting, and painting. It is not true. You can be a talented mathematician, architect, or chemist — because it comes to you effortlessly. Don’t limit talent to the creative arts alone. Talent is broad, and everyone has a talent.”

Speaking on The Career program on Joy Learning TV and Joy News, KSM noted that Ghana’s film industry has great potential but is missing a clear blueprint for success.

“In Ghana, our film industry is amazing. We have all the ingredients for a great film industry, but I don’t think we have the recipe right yet,” he said.

KSM acknowledged that although some producers in Ghana have managed to figure out this “recipe,” the majority are still struggling to find their footing.

“We have some segments of Ghanaians who now have the recipe, but for the most part, that’s what we have struggled with in the industry,” he added.

He attributed this challenge to the fact that Ghana’s film sector is still in a developmental phase. Drawing comparisons with Nigeria, he explained that the Nigerian film industry has had more years of exposure and experience, which has allowed them to refine their production and distribution systems over time.

“Unfortunately, it is still a growing industry. We can’t compare the film industry in Ghana to that of Nigeria. The Nigerians have had a longer time of being exposed to making films. And the more they make them, the more they get better. The more they produce, the more they devise ways of distributing them. Eventually, you realize you’ve developed a system that works for you,” KSM stated.

In contrast, Ghana, he said, has not had a solid, long-term system in place — particularly when it comes to distribution.

“Somebody will hustle to make money, then hustle to pay for the film. And after paying for the film, the actors, and everyone else involved, they now have to hustle again just to distribute the film. There are no proper distribution outlets,” he lamented.

KSM recounted earlier years when CD and DVD formats served as the primary means of distribution in Ghana. According to him, after a film was completed, producers would burn it onto CDs or DVDs and market them on the streets.

“It got to a point where, when you made a film in Ghana, it went straight to CD. Even before DVDs, there were CDs. To sell the film, you had to mount a float and sell the CDs. This is not a distribution system. The recipe is not working,” he stressed.

Despite these challenges, KSM praised some filmmakers who have managed to get their movies into cinemas. However, he pointed out that due to the absence of a well-developed distribution network, even these films struggle to reach wider audiences across the country.

“We have some great filmmakers in Ghana. Even now, I know great films. In places with a developed system, once a film is released in one cinema, it is simultaneously shown in others — Accra, Kumasi, Takoradi, Sunyani — reaching over 200 cinemas at the same time. But in Ghana, because we don’t have a well-developed system, a film may premiere at Silverbird in Accra, and then the producers have to manually arrange for showings in Kumasi. That kind of model doesn’t support industry growth,” he concluded.

Trump said he was authorising the US Department of Commerce and Trade Representative to start the process to impose the levy because America’s movie industry was dying “a very fast death”.

He blamed a “concerted effort” by other countries that offer incentives to attract filmmakers and studios, which he described as a “National Security threat”.

“It is, in addition to everything else, messaging and propaganda!” Trump said on his Truth Social platform. “WE WANT MOVIES MADE IN AMERICA, AGAIN!”

US Commerce Secretary Howard Lutnick responded to the latest announcement, saying “We’re on it”.

But the details of the move are unclear. Trump’s statement did not say whether the tariff would apply to American production companies producing films abroad.

Several recent major movies produced by US studios were shot outside America, including Deadpool & Wolverine, Wicked and Gladiator II.

It was also unclear if the tariffs would apply to films on streaming services, like Netflix, as well as those shown at cinemas, or how they would be calculated.

The UK’s Department for Culture, Media & Sport, industry body the British Film Institute and the Motion Picture Association, which represents the five major US film studios, did not immediately respond to BBC requests for comment.

The governments of Australia and New Zealand have spoken out in support of their countries’ film industries.

“Nobody should be under any doubt that we will be standing up unequivocally for the rights of the Australian screen industry,” Australia’s home affairs minister Tony Burke said.

New Zealand’s Prime Minister Christopher Luxon told a news conference that his government was awaiting further details of the proposed tariffs.

“But we’ll be obviously a great advocate, great champion of that sector and that industry,” he added.

Since returning to the White House in January, Trump has imposed tariffs on countries around the world.

He argues tariffs will boost US manufacturers and protect jobs – but the global economy has been thrown into chaos as a result, and prices on goods around the world are expected to rise.

Ahead of his inauguration, Trump appointed three film stars – Jon Voight, Mel Gibson and Sylvester Stallone – to be special ambassadors tasked with promoting business opportunities in Hollywood, which he described as a “great but very troubled place”.

“They will serve as Special Envoys to me for the purpose of bringing Hollywood, which has lost much business over the last four years to Foreign Countries, BACK—BIGGER, BETTER, AND STRONGER THAN EVER BEFORE!” Trump wrote at the time.

The US remains a major film production hub globally despite challenges, according to movie industry research firm ProdPro.

Its most recent annual report shows the country saw $14.54bn (£10.94bn) of production spending last year. That was down by 26% since 2022, though.

Countries that have attracted an increase in spending over the same period include Australia, New Zealand, Canada and the UK, according to the report.

Even before this most recent announcement, the US movie industry had been impacted by the fallout from Trump’s trade policies.

In April, China said it was reducing its quota of American films allowed into the country.

“The wrong action of the US government to abuse tariffs on China will inevitably further reduce the domestic audience’s favourability towards American films,” the China Film Administration said.

“We will follow the market rules, respect the audience’s choice, and moderately reduce the number of American films imported.”

Trump has hit China hardest with his tariffs salvo, imposing import taxes of up to 145% on goods from there.

His administration said last month that when the new tariffs are added on to existing ones, the levies on some Chinese goods could reach 245%.

Beijing has hit back with a 125% import duty on goods from the US.

Other countries currently face a blanket US tariff of 10% until a pause on higher levies expires in July.

Speaking to reporters aboard Air Force One on Sunday, Trump said he was meeting with many countries, including China, on trade deals.

He added, however, that he had no plans to speak with his Chinese counterpart Xi Jinping this week – despite previous reports that Washington had approached Beijing about holding trade talks.

Asked if any trade agreements would be announced this week, Trump said that could “very well be”, but gave no details.

Earlier, Trump signalled he may be willing to lower tariffs on China.

“At some point, I’m going to lower them, because otherwise, you could never do business with them, and they want to do business very much,” he said in an interview that aired Sunday on NBC’s Meet the Press.

In the same interview, Trump said he may grant another extension to a deadline for China-based ByteDance to sell the US operations of TikTok.

He has already given two reprieves from a law that threatens to ban the short video app if it is not sold to a non-Chinese company.

ByteDance currently has until 19 June to reach an agreement over ownership of the platform, which is used by 170 million Americans.

Negotiations over a potential deal have stalled since Trump imposed steep new tariffs on China.

ALSO READ:

• ‘If the Finance Minister doesn’t get it right…’ – AGI boss warns of fallout…

• Trump tariffs could harm Ghana and global trade – Mahama

This comes after Bimbo Ademoye shared her frustrations on Instagram, tagging the officials to intervene.

George has acknowledged Bimbo Ademoye’s concerns, stating that he will engage with his colleague in charge of TV content to address the unauthorized broadcast of her movies.

He assured that the government is committed to upholding intellectual property laws in Ghana.

“My attention has been drawn to your post, thanks to the tag. I would be raising the issue with my colleague minister responsible for overseeing television content.

“I, however, wish to assure you that our government is very respectful of intellectual property rights and would ensure the protection of same. I believe Ghana and Nigeria have so much we can continue to collaborate on for our mutual benefit,” he wrote.

Kafui Danku chimed in, assuring Bimbo Ademoye that urgent action is being taken to address the copyright infringement issue.

“Hi ma’am, my management and I are working on putting a stop to this. You should see definite actions in a couple of weeks,” she noted.

This is not the first time a Nigerian creative has raised concerns about Ghanaian television stations showing their movies without a license. (Related article: Nollywood actress Omoni Oboli calls out Ghanaian TV stations for airing her films without a license)

In September 2023, popular Nollywood actress and filmmaker Ruth Kadiri issued a stern warning to Ghanaian television stations airing her content without proper authorization.

The renowned actress also announced her intentions to pursue legal action against offenders.

Last month, renowned Nigerian actress Omoni Oboli took to social media to express her outrage and disappointment at Ghanaian TV stations for broadcasting her movies without obtaining the necessary legal permission.

In a strongly-worded post on her Instagram page, Oboli condemned the unauthorized airing of her films and criticized the Ghana National Film Authority for its inaction in addressing the issue.

Bimbo Ademoye’s outburst has opened up the conversation on copyright issues, with the likes of Ghanaian actress Juliet Ibrahim also sharing their opinions over the unfortunate trend.

Speaking in an interview with Doreen Avio on Daybreak Hitz, Safo revealed that his team classified “over 300 movies” while also engaging film practitioners to raise awareness about the importance of film classification.

He praised the newly-appointed Executive Secretary of the NFA, Kafui Danku-Pitcher, for continuing the classification initiative, describing it as crucial for upholding standards within the industry.

In a recent press release, the NFA, under Danku-Pitcher’s leadership, reminded filmmakers and exhibitors of their obligations under the Development and Classification of Film Act, 2016 (Act 935). The statement stressed that “a person shall not exhibit or cause to be exhibited a film unless the film has been passed and classified by the NFA.”

The release further explained that the regulation applies to all forms of audio-visual content—including feature films, short films, trailers, TV series, documentaries, advertisements, music videos, and content shared via cinemas, television, online streaming platforms, or public spaces.

Additionally, the NFA announced a new enforcement measure, which takes effect from May 1, 2025. Under the new rule, any producer, distributor, or exhibitor submitting content for classification must hold a valid Film Producer, Distributor, or Exhibitor licence issued by the NFA.

The Film Classification Committee was established under Act 935 and is mandated to preview and classify all audio-visual content intended for public exhibition in Ghana.

Below are some photos of his visit:

Photo credit ; Presidency

Speaking on The Honest Bunch podcast, the 71-year-old actor stated that while he is financially stable, he does not consider himself wealthy by Nigerian standards.

“I have been in this industry for this long. I thank God that I can eat three square meals. But can I claim to be a rich man by Nigerian standards? No,” he said.

Kosoko also highlighted the devastating impact of piracy on the Nigerian movie industry, calling for stricter laws to curb the menace.

“The punishment in the copyright law for piracy is still not strong enough as far as I am concerned. Somebody who has been pirating people’s works for years is a billionaire, so how much do you want to fine him?” he asked.

“Fine him N500 million, and he will just bring it out of what he has sold. But if you attach a 20-year jail sentence to it with no option of a fine, people will refrain from piracy,” he added.

Jide Kosoko, who started his acting career as a child actor in 1964 with the television production Makanjuola, remains a revered figure in Nollywood, advocating for better policies to protect the industry.

Netflix will raise prices across a number of countries after adding nearly 19 million subscribers in the final months of 2024.

The streaming firm said it will increase subscription costs in the US, Canada, Argentina and Portugal.

Asked if prices were set to increase in the UK, a spokesperson for Netflix said there was “nothing to share right now”.

Netflix announced better-than-expected subscriber numbers, helped by the second series of South Korean drama Squid Game as well as sports including a boxing match between influencer-turned-fighter Jake Paul and former world heavyweight champion Mike Tyson.

So great is his appeal, that he can barely walk down the street without getting mobbed by fans.

What’s less well-known is that he secretly quit films during the COVID-19 pandemic in order to spend more time with his loved ones.

“I told my family I’m done with acting and films,” he tells BBC News.

“I [didn’t] want to produce or direct or act. I just wanted to be with the family.”

You’d imagine a major star like Khan deciding to quit the industry would have sent shockwaves through India, a nation that is fully obsessed with films.

But, he explains, his decision went unnoticed at the time because so few movies were being made due to the pandemic.

“No-one knew about it,” he says.

Fans can breathe a sigh of relief, though.

Khan didn’t quit for long. And now he’s back and is promoting Laapataa Ladies – or Lost Ladies – a film he’s produced. It is India’s official pick for the Oscars in the best international feature film category.

Khan says it was his children who convinced him to go back to work.

“They were like, ‘But we can’t spend 24 hours with you. So get real and get a life.’ So they gently nudged me back into the films,” he says.

At 59, Khan has worked as an actor, director and producer for three decades.

He’s known as one of the three “Khans of Bollywood” – the others being fellow megastars Shah Rukh and Salman.

Known for tackling social issues, Aamir’s films are widely acclaimed as well as breaking box office records.

He is also no stranger to the Oscars. Lagaan, a film about cricket set in the 19th Century during the British Empire, was nominated for best foreign language film in 2002.

Khan is now trying to make history with Laapataa Ladies. If it succeeds, it would be the first Indian film to win the coveted international prize. He will find out whether it has made the shortlist on Tuesday.

Khan said he’s “not quite sure how seriously” to take awards. “Cinema is so subjective,” he says.

But he admits a win would mean a lot to India.

“I think Indians are so film crazy and we’ve been dying to win the Academy Award for an Indian film, which hasn’t happened till now. So the country will go ballistic. They’ll just go mad if we win,” he says.

“So just for the people of our country and for our country, I would be really happy if we win the award.”

Set in rural India, Laapataa Ladies tells the story of a young man bringing the wrong bride home. Meanwhile, his wife ends up lost, having to fend for herself.

It’s a satire looking at the treatment of women, including touching on the sensitive topic of domestic violence.

Khan describes the plot as “a bit Shakespearean”, with its focus on humour and mistaken identities.

But, he adds, it’s saying “a lot of important things about women’s issues, their independence, their right to decide for themselves what they want to do”.

It was these issues that drew him to the film in the first place, he explains.

“Every now and then you get an opportunity as a creative person to actually also sensitise people about certain issues that we face in society,” he says.

“Women all over the world have been subjected to a lot of challenges in their lives. Women have a raw deal in life. So I felt that here is a story which really brings that out well in such a nice way, which is why I wanted to produce it.”

Khan was also “very keen” that his ex-wife, Kiran Rao, should direct the film.

The pair, who married in 2005, announced their separation in 2021. But they have remained close, both professionally and personally.

“I think the reason I chose Kiran was because I knew that she would be very honest with it and that’s what I wanted,” he says.

“We get along really well. We really love each other, we respect each other.

“Our relationship may have changed slightly – but that doesn’t mean what we feel for each other has gone down or something.”

That’s not to say it’s all been plain sailing, however.

Khan admits there were arguments on set.

“We can’t make a film without an argument. So we argue every point and we have strong opinions,” he says.

“But our sensibilities are very similar. We are not talking about fundamental things. We are just trying to sometimes convince the other person a better way of conveying something.”

Bollywood on the global stage

Bollywood produces hundreds of films every year and has a huge following among Indians globally.

The sway the films and stars have on their fans’ imagination cannot be overstated.

It has had recent success at the Academy Awards, with Naatu Naatu from RRR winning the best original song and The Elephant Whisperers awarded the best documentary short film.

But victory in the international film category has so far eluded it, something Khan attributes to the competition.

“India has made really great films over the years. Occasionally it’s a matter of the right film not getting sent or the best film not getting sent,” he says.

“But otherwise we have to understand that the films you’re competing against – you’re not competing against five or six films, you’re competing against almost 80 or 90 films, which are the best in the world.”

As to whether a Bollywood film could one day scoop the best overall film award, Khan says it is “possible”.

But Indian film-makers would first need to start making movies for a global market, he adds.

“I’ve never really looked at an international audience,” he says. “We have such a large audience of our own that it doesn’t come in to our mind.

“That will only happen when Indians start making films for a world audience. I don’t think we have the bandwidth for it right now.”

‘I don’t work after 6 o’clock’

For now, Khan is focusing on a range of projects alongside Laapataa Ladies, which also include his next film Sitaare Zameen Par, due for release in 2025.

Looking further out, he’s hoping to make one film a year, while his “dream project” is to take on Mahabharat – the ancient Indian epic.

But since unretiring from the film, he is determined to do things differently. Again, this was influenced by his children.

“My son said, ‘You’re an extreme person’,” he says.

“He said, ‘You’re like a pendulum. You only did films, films, films. And now you want to swing to the other side and do no films and be with family, family, family. There is a middle place also you can think about.”

Khan says his son told him to “try and bring some balance” into his life.

“And I thought he was right. So since then, that’s what I’ve been trying to do – living a balanced life where I’m working really hard, in fact, I’m doing much more work than I ever did, but I don’t work after 6 o’clock any more.”

Khan says he has also started therapy in recent years, inspired by his daughter Ira, who works in mental health.

“I think that’s something that’s really helped me. That’s really helped me understand myself better.

“I’m actually finding that balance between work and personal life. So I feel that I’ve reached that space now.”

The film, which premiered in June 2024, was one of only five selected for screening at the prestigious summit, where it received praise from both critics and audiences, marking a significant milestone in Hilda’s budding career.

Hilda’s journey to this point is one of passion and resilience. Born into a family of five sisters, she was raised in Kumasi, where her education began at New Life International School and continued at St. Louis Senior High School.

Although she later pursued aviation studies and obtained certifications in customer service and passenger handling, Hilda’s true dream was always acting.

She first tried her hand at it at age 12, qualifying at her first audition despite her mother’s initial reservations. After years of waiting for her family’s full support, Hilda finally began to pursue her dream wholeheartedly.

Since officially entering the industry in 2018, Hilda has collaborated with prominent filmmakers such as Shirley Frimpong Manso and Ivan Quashigah and starred in several television productions now airing on DStv.

Her dedication and versatility have earned her multiple award nominations, including Best Actress in a Supporting Role and Most Promising Actor. She was also recognized as Personality of the Year in 2022.

Beyond acting, Hilda is a talented writer and producer. She has written and produced seven short films available on YouTube, showcasing her storytelling range and depth.

Stuck32hrs, her first full-length feature, captivated audiences with its intricate storytelling, drawing large crowds and praise for its fresh approach.

In addition to her film career, Hilda has taken on roles as a brand ambassador and influencer, representing one of Ghana’s top hair brands and aligning herself with values of beauty, resilience, and creativity.

Her work bridges the worlds of Ghanaian and Nigerian film, enriching African cinema with her unique vision and talent.

With her achievements and growing influence, Hilda Ama Braso is on a promising path, shaping the future of African cinema.

Audiences can keep up with her inspiring journey as she continues to make her mark on the industry.

The Terminator was released 40 years ago, on 26 October 1984. James Cameron’s science-fiction thriller turned its star into one of the biggest Hollywood action heroes of the 1980s and 1990s – and it was all because he chose to play the bad guy, as he told the BBC in 1985.

Benedicta who was signed to Zylofon Media (movies) told Andy Dosty on Hitz FM that her career is still alive even after the media company closed down.

“[The folding up of Zylofon Media] didn’t affect me in any way.

I feel like if you are talented, you are talented. If you are good, you are good. You were a brand before you were signed. So you just have to maintain it. How has it affected Stonebwoy or Shatta Wale? Everybody is still doing their thing,” she said.

Benedicta was one of the actors that were signed on to the movie wing of Zylofon Media. Headed by Eddie Nartey, the label had other actors like Bibi Bright, James Gardiner, Toosweet Annan and Zynnell Zuh.

Zylofon Media also had for their music wing artistes such as Kumi Guitar, Becca, Stonebwoy, Joyce Blessing, Shatta Wale and Obibini.

She has starred in movies such as Mirror Girl, Odo Asa, April Fool, Devils Voice, Azonto Ghost, Kweku Saman, Adoma and Agyanka Ba.

Others are Ewiase Ahenie, I Know My Right, Agya Koo Azonto, Afia Yakubu, Happily Never After (2016)
Selfie, The New Adabraka, The 2 Pilots and Obsession.

“The world has lost one of the greatest men it has ever known – and I have lost my dad.” the actor’s daughter, Kirsten Casale Ely, said in an Instagram post.

Tarzan originally aired on NBC television network from 1966 to 1968, during which time the actor broke a number of bones and was reported to have been attacked by animals while performing his own stunts.

After retiring from acting in 2001, Ely became an author and published two mystery novels.

Ely made a brief return to acting for one television film, Expecting Amish, in 2014, where he played an Amish elder.

In the 1980s, he appeared in other hit television programmes including cruise ship-based comedy The Love Boat, as well as Wonder Woman with star Lynda Carter.

Born in Texas in 1938, Ely went on to marry his high school sweetheart in 1959, before divorcing two years later.

He was also known for hosting the Miss America pageant in the early 1980s, where he met his wife Valerie. The couple went on to have three children.

Ely died at his home in Los Alamos in Santa Barbara, California on 29 September.

Announcing the death in an Instagram post on Wednesday, the actor’s daughter said: “My father was someone that people called a hero. He was an actor, writer, coach, mentor, family man and leader.”

She added: “I knew him as my dad – and what a heaven-sent honour that has been. To me, he hung the moon.”

Starring Arnold Schwarzenegger, the 1984 blockbuster The Terminator has become synonymous with the dangers of superintelligent machines. But it “helps and hinders” our understanding of AI.

The Beast of No Nation actor acknowledged that while such platforms are great for showcasing African content globally, true success lies in building local capacity and infrastructure.

Speaking at this year’s Africa Cinema Summit (ACS) which opened in Accra on Monday, October 7, Idris Elba, who is passionate about empowering Africa’s film industry, said he wanted a robust sector that can sustain itself, with a distribution network independent of Western platforms.

“The lifespan of African cinema is endless. We need to talk about distribution, we need to talk about how to grow the industry. For instance, filmmaking in Ghana is growing and we have seen fantastic stories and creative talents, not to mention the fantastic wealth of tourism.

“We have to win our developing market in Africa. Inasmuch as we want to appeal to the international market, we have to win our own first. When you watch American box hit movies, usually, they make box offices in America before other countries,” he stated.

For him, the key is raising the profile through better infrastructure, distribution channels and connecting filmmakers with audiences on the continent and globally.

“The future relies on us, our own distribution. We must fill the cinemas with our people first.

“So it’s important not to always focus internationally but focus on home. Also, we need to build films that get to the standard of the rest of the world. There’s no excuse because we all need to adhere to the democratisation of equipment, which means that we can all shoot with good cameras and microphones.“We have to be committed to quality, which means that we need education or to educate one another and make sure that the standard raises,” he added.

Idris Elba’s commitment to African cinema goes beyond words. Through his production companies, IE7 and The Akuna Group, Elba is investing in the continent’s creative potential, cultivating homegrown talent.

He noted that African storytellers must balance authenticity with international appeal, making their stories familiar and engaging for a global audience.

“Remember that when we tell a story, we want everyone to pay attention to them, so we have to tell stories that are familiar to the international market.

“And with the combination of all that, with distribution and other relevant elements, we can bolster our fortunes and set our foot further,” he said.

The second ACS officially opened on Monday, October 7 and ends today, October 10, 2024.

Building on the success of its inaugural edition last year, the 2024 ACS has expanded its scope, convening industry leaders and film enthusiasts from around the world to explore innovative strategies for the continent’s cinematic growth.

There was also a Legacy Awards ceremony at the Movenpick Ambassador Hotel in Accra on Wednesday, October 9, to honour distinguished personalities who have made significant contributions to the growth and development of Africa’s film industry.

The summit officially ended yesterday with filming of some selected movies.

Elba, a Golden Globe winner and chairman of the IE7 and The Akuna Group, is joined on the top billing by former Netflix exec and co-founder of Juno Studios, Fiona Lamptey, and Andrew Kofi Egyapa Mercer, Ghana’s Minister of Tourism, Arts and Culture.

The summit will once again take place at the Movenpick Ambassador Hotel in Accra.

The theme will be “The Relevance of Cinema in African Communities.”

Organizers have said speakers will debate the current surge in local content production and consumption, ways of advocating for cinema investment, and how to reimagine the cinema experiences for Africa’s underserved lower-income audiences.

Representatives from African countries including Morocco, Namibia, Nigeria, Rwanda, and Angola are set to attend alongside executives from throughout the African diaspora and reps from investment bodies including Afreximbank and IFC.

“Africa has been at the forefront of communication and storytelling for centuries, but sadly this innovation and the complex stories originating on the continent have been largely unnoticed,” Elba said in a statement to Deadline this afternoon.

“So, I am thrilled to be part of this year’s Africa Cinema Summit, where the focus will be on how Africans, on the continent and in the diaspora, can propel the cinema and content ecosystem to new heights and bring global awareness to our rich, dynamic, youthful and vibrant Africa.”

The Africa Cinema Summit is organized by National Film Authority execs Tim Yaw Struthers, Moses Babatope, and Funmi Onuma in collaboration with Nile Media Entertainment Group and Silverbird Cinemas.

Last year’s inaugural summit featured representatives from 20 African countries, with discussion focused on exploring and tailoring cinematic opportunities to suit the unique characteristics of each geographic location across the continent.

The meeting was the source of multiple strategic gains for the regional industry. Ghana’s president Nana Akufo-Addo pledged to approve a film tax incentive for the Ghanaian film industry. The credit was officially passed a few months later as a 20% tax rebate.

“The only way to grow local content and increase the cinema offerings on the African continent is to work together,” Juliet Yaa Asantewa Asante, CEO of the National Film Authority of Ghana, told us.

“The sector remains resilient, with local content stepping up in countries like Nigeria to fill content gaps. The continent holds the largest potential market growth forcinema,a and our work is to make the potential a reality that benefits African communities. I look forward to welcoming our esteemed guests to Accra, Ghana.”

Filmmaker James Cameron has joined the board of directors of artificial intelligence (AI) firm StabilityAI, 40 years after making a film about its risks.

In 1984’s The Terminator, which Cameron wrote and directed, a rogue AI called Skynet threatens the existence of mankind.

But the creator of the fictional AI has not been hired to help avoid such tech being developed in real life.

Instead, his role will centre around how the technology can be used in special effects, also known as computer-generated images (CGI).

“I’ve spent my career seeking out emerging technologies that push the very boundaries of what’s possible, all in the service of telling incredible stories,” he said.

“I was at the forefront of CGI over three decades ago, and I’ve stayed on the cutting edge since.

“Now, the intersection of generative AI and CGI image creation is the next wave.”

Amongst his long list of hit movies, Cameron is known for creating special effects-heavy Avatar, the highest-grossing film of all time.

His new place of work, StabilityAI, is best known for making Stable Diffusion – which can generate images based on a user’s text prompt.

It is also branching out into video, with Stable Video Diffusion, which works in the same way.

It is this tech that Cameron seems to have been brought on to help develop.

Proponents of AI video generation say it will enable artists to quickly create complicated digital effects.

But for many creatives – and Cameron’s contemporaries – this use of the technology is considered controversial at best.

Last week, Pan’s Labyrinth director Guillermo del Toro criticised AI-generated video during a talk at the British Film Institute in London, saying it could not generate much beyond “semi-compelling screensavers”.

Michael Bay said last year the tech “will create a whole bunch of lazy people” because “it doesn’t create, it just imitates”.

And Hiyao Miyazaki, who wrote and directed animated classic Spirited Away, previously said he was “disgusted” by an AI-generated video and called it “an insult to life itself”.

From the days of classic productions like Love Brewed in the African Pot to the rise of blockbuster stars like Majid Michel, Jackie Appiah, and Yvonne Nelson, our country was a cultural powerhouse.

But in recent years, the narrative has shifted, with Nollywood gaining prominence, many wonder why the once-thriving Ghanaian film scene has slowed down.

This shouldn’t be a case of Ghanaian producers looking to Nollywood as the gold standard.

In fact, Ghana has a rich history of cinematic excellence that can be reclaimed if the right steps are taken.

The key to this resurgence lies not just in the hands of filmmakers but also in government support, policy backing, and creating the necessary infrastructure for the entertainment industry to thrive.

Why Government Support Matters

In Nigeria, the government has understood the immense potential of its creative industry.

Nollywood isn’t just producing films for entertainment; it’s contributing billions to the economy, creating thousands of jobs, and helping the country project its cultural influence globally.

The Nigerian government has backed this growth by providing funding, infrastructure, and policy support to ensure that the film industry is sustainable.

This is where Ghana is lagging behind. For our film industry to grow and regain its former glory, the government must recognize the entertainment space as a significant economic contributor.

The creative sector, including music and film, has the potential to generate substantial revenue for the country while creating countless jobs.

If Ghana wants to compete on the global stage, we need policy reforms that support filmmakers with funding, infrastructure, and training opportunities.

The Economic Power of the Entertainment Industry

Let’s have a look at the numbers.

In Nigeria, Nollywood is one of the largest film industries in the world, second only to Bollywood in terms of volume.

It contributes over $600 million annually to the Nigerian economy. Stars like Genevieve Nnaji and Omotola Jalade-Ekeinde have built global brands, gaining international recognition, and attracting endorsements worth millions.

In Ghana, we have seen similar talent capable of reaching these heights, but without the proper support, the film industry has struggled to maintain momentum.

Imagine the economic potential if the government was to back the entertainment industry with the same commitment and resources as it does for agriculture or infrastructure.

The entertainment space could be a game-changer, providing an alternative stream of revenue and reducing the country’s dependency on traditional sectors like cocoa or mining.

Creating Opportunities Beyond Netflix

Another area where Ghanaian filmmakers need to innovate is distribution.

While Netflix has been a great platform for African cinema, it’s not the only one.

Nollywood has thrived by tapping into multiple platforms, especially YouTube, where filmmakers can directly upload their movies and monetize them through ads.

YouTube is quickly becoming a hotspot for Nigerian films, offering filmmakers a space to reach audiences far beyond Africa and generate income.

Ghanaian filmmakers need to follow this trend.

Relying solely on Netflix limits the potential reach of our films.

By embracing platforms like YouTube, Amazon Prime, and other emerging streaming services, Ghanaian filmmakers can diversify their income streams and reach a much broader audience.

We have the talent, and with the right distribution strategies, we can tell our stories to the world.

Investing in Better Stories

Finally, one of the most crucial factors in making a film industry thrive is storytelling.

Great films start with great stories, and this is where we need to step up. In the past, Ghanaian cinema produced some of the most compelling narratives on the continent.

However, recent productions have sometimes lacked the depth and quality that made earlier films so successful.

Producers need to invest in top-notch screenwriters who understand the power of a well-crafted story.

We must look both inward and outward, learning from the best while remaining true to our unique Ghanaian identity. Storytelling is what connects films to audiences, and we need to make sure our films resonate not only locally but internationally.

A United Push for the Future

The time has come for Ghana to reclaim its place in the world of cinema.

This can only happen if there’s a united push from all corners, thus, filmmakers, the government, and the creative community.

We have the talent, the stories, and the cultural wealth to make our mark, but we need the right infrastructure and support to bring it all together.

The entertainment industry is not just about fame or stardom—it’s about creating a legacy, building an economy, and projecting Ghana to the world.

If we take the right steps now, we can see a future where our films are celebrated not only across Africa but around the globe.

Let’s not just look to Nollywood for inspiration, let’s rise and create a Ghanaian film renaissance that the world will never forget.

The government must play its part and our filmmakers must embrace new opportunities to put Ghana firmly back on the map.

Source: Mary Asiedu

Speaking in an interview with Kweku Adu Kumi on Asempa FM’s Showbiz Review, Chairman K revealed that while his song Otan Hunu has gained significant traction on social media, especially on TikTok, Amerado hasn’t fulfill his part of their agreement to promote the video.

“I released it two weeks ago. People are using it on TikTok and jamming to it, but Amerado has not posted it yet, and people have been questioning me,” Chairman K stated.

According to the highlife musician, the agreement was clear that he would release the video, and Amerado would share his part and the chorus on his social media platforms.

“The agreement was that I would do my part, then he would post his part and the chorus on his social media handles. We all agreed… even his management was videoing us with their quality phone,” Chairman K explained.

He emphasized that the collaboration was meant to help them expand their audience base, particularly by tapping into Amerado’s followers.

Despite paying Amerado for his participation, the rapper’s lack of promotion has led to questions being directed at Chairman K.

“I called him, and he said he would talk to the management, but I have not heard from him since I released it,” Chairman K added.

“If someone is promoting and the one I featured doesn’t promote, it looks like I have an issue with him. But I don’t have any issue with him… People are asking me too many questions, so I just want people to know to ease the tension on me.”

Chairman K hopes that Amerado and his team will fulfill their commitment to promote Otan Hunu, as agreed upon during their collaboration.

Watch the music video below:

He said that this situation is a result of low entertainment opportunities in the country.

He made this position known on Joy FM’s Super Morning Show, emphasizing the power of the entertainment industry to boost economic growth.

“Theatre can boost business and economy, not just in taxes but in attracting and keeping investors in Ghana for all sectors,” he said on Thursday.

He stated that even though foreigners troop into the country for business and tourism, the absence of sustainable entertainment drives investors away without the desire to return to the country.

“There are not many options for engaging and entertaining these investors … so these people [Investors] do not stay too long. They get bored and most do not look forward to returning to Ghana,” he said.

According to him, in other countries, there are live shows at theatres each day which keep both citizens and foreigners entertained and boost the tourism industry.

“I spent a week in Prague in the Czech Republic, and every evening my host took me somewhere. There were entertainment options every evening. It makes you the guest want to extend your stay and return sooner than later.”

Uncle Ebo Whyte recounted how a former President of Aviation Operators in Southern Africa shared with his son how he travels to Ghana every quarter to watch Uncle Ebo Whyte plays.

“Think what is possible if every foreigner who flies into Ghana knows that he can watch a great show every evening.”

He urged the next government to research the ways to use creative arts to help improve the economy of the country.

He also took the opportunity to express his willingness to collaborate with anyone who would offer him assistance of any sort to realize his vision of acquiring an auditorium that can host eight live plays a week.

This, he believes, will help to increase the entertainment options for both Ghanaians and foreigners in the country.

In an interview with Doreen Avio, the ‘Taste of Sin’ actor highlighted that many people are unaware of how to effectively leverage these platforms for their benefit.

He pointed out that YouTube, in particular, is an underutilized platform that holds significant potential for revenue generation.

“YouTube is an untapped space that people are overlooking. Just one of the productions on there has garnered about 29 million views, which shows that African movies are doing well. While bigger platforms like Netflix are also important, we need to start paying attention to YouTube as well,” he remarked.

James Gardiner also noted how Nigerian TV stations are more proactive than Ghanaian ones in selecting and promoting movies from YouTube, often turning them into hits.

He shared that his work in Nigeria has been going well, and he observed that it’s not just Ghana but other countries, especially Nigeria, that quickly pick up these movies from YouTube.

“When a film drops on YouTube, within 20 to 30 minutes, other YouTube platforms—mainly based in Nigeria—start showcasing it, which can sometimes impact the original viewership,” he explained.

James Gardiner however remains optimistic about the future of the Ghanaian movie industry, believing that with a positive mindset and consistency, the industry will thrive.

Source: Adomonline

READ ALSO:

• Christians shouldn’t sing secular songs – Gospel singer
• 5 times Eazzy stunned fans with sizzling beachside bikini photos
• Chale Wote Street Art Festival 2024 opens in Accra

The film, created by the de Graft-Johnson Brothers and directed by Kobina de Graft-Johnson, will debut in Brooklyn on August 24, 2024, at 2 PM at 274 Morgan Avenue, Suite 201.

King of T3MA explores the intense journey of Paa Kwesi, a man driven to the criminal underworld by the weight of debt and the desperate need to pay for his mother’s medical care.

As Paa Kwesi navigates the dangerous world of crime, he grapples with moral dilemmas and the consequences of his actions.

The film delves into universal themes of love, resilience, and sacrifice, connecting deeply with audiences far beyond its Ghanaian roots.

Directed by Kobina de Graft-Johnson, CEO and founder of Anibok Studios, King of T3MA is part of the studio’s ongoing commitment to producing socially conscious films that spotlight stories from the African diaspora.

Anibok Studios is recognized as a leading producer of Ghanaian diaspora content, known for bringing authentic and diverse narratives to the global stage.

“We created a film that entertains while prompting reflection on the choices we make for those we love,” said de Graft-Johnson. “King of T3MA showcases the universal themes of love, sacrifice, and resilience. We are excited to share the true voices and stories of Ghanaian youth with the world.”

The film boasts an impressive cast, including David Oppong Osabutey, also known as “Big Tim,” as the lead actor, alongside Melvin Dain, veteran actor Fred Amugi, and Kingsley Yamoah.

Following the screening, there will be a Q&A session with the producer, director, and casting director.

Meanwhile, special guests and key figures in the film industry are expected to join in the celebration of this cinematic achievement.

Tickets for the premiere are available at the official King of T3MA website. The film is also set to premiere in Ghana between September and October 2024, giving local audiences the chance to experience the highly anticipated drama firsthand.

Connie Chiume, a veteran South African actor who appeared in Marvel film Black Panther, has died at the age of 72, her family has announced.

The multi-award-winning actress starred in several South African TV shows including Rhythm City, Zone 14 and most recently, Gomora.

Chiume was a trained teacher but later became a household name on mainstream television.

She died at a Johannesburg hospital on Tuesday afternoon, a short family statement said.

The movie has been recognized in the esteemed category of ‘Black Star Movie of the Year.’

Directed by Frank Fiifi Gharbin and executively produced by Kwadwo Nkansah Lilwin, this film marks a collaborative effort between Ghana and Nigeria, featuring a stellar cast of top actors from both countries.

Among them are: Ramsey Nouah, Charles Awurum (popularly known as Awilo Sharp Sharp), and Victor Osuagwu (known as Paa George and Sweet Mimi), alongside other distinguished performers.

‘A Country Called Ghana’ has garnered global acclaim, securing a cinema distribution deal and earning nominations in several international film festivals, including Germany, New Zealand, and the IMO International.

It is also set to be featured at the Nollywood Film Festival.

The Black Star International Film Festival (BSIFF), held annually in Accra, Ghana, serves as a prominent platform to showcase and honour the works of African filmmakers and the diaspora, fostering international recognition for African cinema.

READ ALSO:

• Lady, 19, missing after delivering food to stranger at Mankessim
• Black Sherif features in BECE Creative Arts and Design question
• ECG announces emergency maintenance on prepayment server

A plotline for the movie is yet to be revealed, but Myers will play the title character, Diaz will voice Shrek’s wife Princess Fiona and Murphy will return as sidekick Donkey.

Announcing the news, DreamWorks Animation said on X: “Not too Far, Far Away… Shrek 5 is coming to theatres on July 1, 2026 with Mike Myers, Eddie Murphy, and Cameron Diaz.”

The first film was released back in 2001, and won the first Oscar for best animated feature film.

It was a huge hit for DreamWorks, making $487m worldwide at the box office.

Shrek 5 will in fact be the seventh film in the wider franchise, after Antonio Banderas’ character had two spin-off films – Puss In Boots and Puss In Boots: The Last Wish.

It is unknown whether Banderas will be back for Shrek 5.

Murphy hinted in an interview with Collider last month that Donkey could also be getting his own spin-off movie.

He also said work on Shrek 5 started “months ago”.

“I recorded the first act, and we’ll be doing it this year, we’ll finish it up,” he said.

“Shrek is coming out and Donkey’s gonna have his own movie.”