Cameroon’s film industry is facing a full-blown crisis — and many of its most celebrated talents are heading to Nollywood for a lifeline.
Once brimming with promise, the Cameroonian movie scene has been choked by poor distribution, economic instability, and deep-rooted linguistic tensions. With the local market offering little in terms of returns, opportunities, or infrastructure, filmmakers like Stephanie Tum and Eystein Young Dingha are now looking to Nigeria’s vibrant Nollywood to revive their careers and reach larger audiences.
Linguistic Divide: Anglophones vs. Francophones
The industry’s fragmentation largely mirrors the country’s political fault lines. Cameroon is about 80% Francophone and 20% Anglophone, but that 20% continues to be marginalized in both government and culture — including film.
Francophone platforms like Canal+ often reject English-language films outright, demanding scripts be translated or rewritten in French. “The French platforms ask us to film in French, which doesn’t always suit our stories,” veteran filmmaker Itambi Delphine lamented. For many Anglophone creatives, this is both an artistic and existential barrier.
Netflix Sparked Hope, Then Disappeared
Between 2020 and 2023, Netflix briefly flirted with the Cameroonian film market, leading to a surge in production budgets and renewed optimism. Filmmakers began shooting higher-quality stories with budgets jumping from 5 million CFA to 40 million CFA. But the optimism was short-lived. When Netflix pulled out due to profitability concerns, the industry crashed — again.
“We were left in the dark,” said Delphine. “The structure collapsed, and we had no fallback.”
No Cinemas, No Cable Love
A striking sign of the industry’s struggle is the lack of physical cinemas — just three across the entire country. And the battle extends to television. Cameroon has around 90 cable TV stations, yet nearly all prioritize foreign content, particularly Nigerian films, over local productions.
“TV stations don’t prioritise local content,” actress Stephanie Tum admitted. “There’s no encouragement for our own.”
YouTube: Lifeline or Last Resort?
In the absence of formal distribution, many Cameroonian filmmakers have turned to YouTube. But monetizing content is difficult, as the platform doesn’t support Cameroonian IPs for YouTube Partner Program earnings. Creators often have to work through Nigerian channels or foreign platforms to see any financial returns.
Tum recently launched her own YouTube channel, Tum TV, inspired by Nollywood powerhouses like Omoni Oboli and Ruth Kadiri, who have used YouTube to build empires. But others, like Dingha, remain skeptical. “I’m not ready to share my stories on YouTube until I’m certain it’s worth the effort,” he said.
The Nollywood Pull
To remain relevant — or even solvent — Cameroonian filmmakers are now casting Nollywood stars to boost visibility and attract investors. Films like “The Planters Plantation” (starring Nkem Owoh), “Therapy” (Richard Mofe Damijo, Iretiola Doyle), and “Fisherman’s Diaries” (Ramsey Nouah) have all leaned on this strategy to gain international traction.
And it’s not just about fame — it’s about cost. A YouTube film budget of N12 million in Cameroon could create a full pan-African feature in Nigeria for one-third of the price, according to Tum. That economic gap is pushing more productions across the border.
What’s the Government Doing? Not Much
Delphine argues that without government support, nothing will change. “There are no incentives, no infrastructure, and no will to bring in companies that can help monetize arts and film,” she said.
A Fractured Future
While some, like Tum, are adapting to the realities of streaming and cross-border collaboration, others remain rooted in tradition. Delphine, for instance, values the depth and quality of classic filmmaking. “I love storytelling, and that passion keeps me from compromising on quality,” she said.
For now, Nollywood remains both a refuge and a reminder — a booming film hub that shows what’s possible with infrastructure, support, and star power. But until Cameroon’s systemic issues are addressed, its creative talents may keep crossing borders to tell their stories.
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