Industry Profile

Overview of the Film Industry

The film industry consists of professionals and companies involved in filmmaking. They are engaged in various activities, including screenwriting, directing, acting, cinematography, animation, pre-production and postproduction, promotion, distribution, and box office counts. Products and services of the film industry include the production of video content for distribution via cinema, TV, rent or direct sales, and on-demand streaming services via mobile devices, set up boxes and personal computers. It also extends to the media and glamour from the strong followership in the industry.

Film production companies are of different categories based on their financial strength and mode of operation:

  • Feature Film Production Companies: Many production companies are in Los Angeles, London and New York. Apart from physical film production, these companies also deal with other filmmaking processes such as hiring talents, crew, writers, musicians, location scouts, a team for pre-production, postproduction, legal, etc.
  • TV Production Companies: these companies deal with filmmaking but with the involvement of broadcasters, networks and studios. They are usually under strict time constraints for the duration of their programmes with strict deadlines as well.
  • Commercial Production Companies: A video production company focuses on commercial work. They usually create a wide variety of videos, typically everything from lower-end work like screengrab videos to full-blown tv adverts, explainers, brand films, awareness videos, training videos, and even creative projects like music videos and short films.
  • Post Production Companies: Postproduction is about making your creative vision come to life on screen. Postproduction involves editing; piecing together raw footage to create a beautiful final video. It includes all postproduction aspects, including editing, special effects, colour correction, sound mixing, and music composition.  
  • Animation production companies: Most animation studios tend to use computer-generated animation these days. However, use stop motion animation, 2D Animation, and even hand-drawn styles.
  • Niche Production Companies: A niche production company usually has one thing that sets it apart. Generally, this is a sector or a particular style of filmmaking. For instance, ‘tabletop’ production companies will specialise in shooting footage of food being prepared using unique micro cameras.


Global View
Global box office revenue hit a record $42.5 billion in 2019. It contributes almost one-third of the estimated $136 billion in the value of worldwide movie production and distribution. 

According to the Motion Picture Association (MPA) 2021 report, the global box office market worldwide was $21.3 billion in 2021. It was up 81 per cent compared to 2020 due to theatres re-opening following the COVID-19 pandemic lockdowns. However, it remained below pre-pandemic levels. MPA reports that the international box office market ($16.8 billion) increased 76 per cent. The global box office market accounted for 79 per cent of the total box office market in 2021.

The report by the MPA In 2021 put the combined global theatrical and home/mobile entertainment market (excluding pay-TV) at $99.7 billion, a 24 per cent increase compared to 2020, surpassing 2019’s total. The combined global theatrical and home/mobile entertainment market was $328.2 billion, including pay-TV. It is a six per cent increase, matching 2019’s record high. 

According to the MPA, as of 2019, the most important markets by box office were: the United States, China, Japan, South Korea, the United Kingdom, and France. In 2019, the countries with the most significant number of film productions were India, Nigeria, and the United States.

Overall, the film and audiovisual sector in Africa remains historically and structurally underfunded, underdeveloped and undervalued, generating only US$5 billion in annual revenue out of a potential US$20 billion, according to the Pan African Federation of Filmmakers (FEPACI)

Nigeria and South Africa could account for as much as $500m according to Digital TV Research. The African Video On Demand/Streaming sector is also multiplying. Subscriptions are poised to balloon from 3.9 million in 2020 to 13 million in 2025, 

With about 1,653 screens across the continent, representing one screen per 787,402 people, Africa is the most underserved continent concerning cinema distribution. In comparison, in 2020, the United States had 44,111 screens per 7,503 people; China had 75,581 screens.

South Africa has the largest cinema market with 663 (1 screen per 88,325 people), Nigeria with 237 (1 screen per 843,881 people).

The pay television segment of the market is dominated by South Africa’s Multichoice (20.1 million subscribers), China’s StarTimes (7.8 million subscribers) and France’s Canal+ (6 million subscribers). The segment continues to grow and shows solid revenue. 

The ongoing digital revolution is a game-changer. Today, content is monetised by directly offering to the audience on online platforms (from YouTube, other social media and Netflix to local mobile video services). As a result, it has given rise to a new economy for African content creators. 

The Ghana film industry, formerly nicknamed Ghallywood, is the cinema of Ghana’s movie production. The National Film Authority recently announced its official film industry brand name to be ‘Black Star Films’ from Ghallywood. The National Film Authority of Ghana recognizes the importance of the socio-cultural and economic development of the film industry.   

Statista reported the box office returns from 2014 to 2018, with a forecast until 2023. The revenue is expected to remain steady at $1.1 million in 2018 to the exact figure in 2023. PwC reports that Ghana’s film industry will grow over the forecast period. Total cinema revenue will rise to US$2.1 million in 2022. Box office revenue will account for US$1.5 million, and cinema advertising will provide the rest.

The film business is big business. A Kenya Film Commission survey in June 2020 reported that the film industry generates an estimated Sh12 billion in revenues annually.

The sector has the potential to grow up to Sh40 billion if it can collaborate with other players in Africa like Nigeria (with a GDP of over $410 Billion), which is about four times the Kenyan GDP of $89 Billion. 

The covid-19 pandemic impacted every economic sector. The creative economy (Film, animations, music, and gaming) benefited from the increased audiences and lowered streaming costs and app downloads.

Nollywood, Nigeria’s film industry, is the second-largest movie industry globally in terms of output. It produces about 2,500 films annually. This number surpasses Hollywood and is second only to India’s Bollywood. According to The Economist, the sector employs over a million people. It generates nearly $2bn a year from cinema tickets and DVD sales, TV rights, royalties and fees. 

In recent years, Nigerian cinemas have grown in the number of screens, from 218 in 2018 to 253 in 2020. Nigeria concentrates 94% of cinema locations in the Anglophone West African region. The Nigerian market is split between 40 different cinema exhibitors.

In terms of revenue, Nigeria grossed about US$16.8 million in box office revenues in 2019. 

Nigerian cinemas recorded growth in revenues of 11% and 21%, respectively, compared to 2019. However, the lockdown, and the reduced seating capacity upon resumption, contributed to an annual loss in revenue of about 75%. As a result, it dropped to a little over US$4 million for the year. Nonetheless, the postponement of the release of most Hollywood titles to 2021 gave a boost to Nollywood titles which generated 55%, or about US$2.3 million of total box office revenue in 2020.

As of 2019, over 74% of Nigerian homes owned televisions.57 Despite the federal government’s early engagement in the DTT transition agenda in 2012, the process is yet to be completed. Regarding pay-TV, subscription numbers are steadily increasing and should reach 7 million households in 2023 and 10 million by 2025.

As of November 2020, Iroko TV recorded about 300,000 subscribers. Other local players include IbakaTV, bank-owned platforms such as Ndana TV (GT Bank), Red TV (UBA) and Accelerate TV (Access Bank. Mobile operators also offer mobile video services, including Airtel and its recently launched Airtel TV.

Netflix officially entered the Nigerian market in 2019. That year, the platform was estimated to have attracted some 50,000 subscribers. The Covid-19 lockdown positively impacted the growth of digital media in Nigeria and across Africa. As a result, Netflix recently declared that its subscribers in Africa have grown to over 2 million, Nigeria being a significant market. Multichoice’s Showmax is the other large Pan-African VOD platform available in Nigeria.

South Africa
The South African film industry is among the oldest and most developed in the world. In 1895, it became one of the first nations in the world to watch and hear sound motion pictures. 

The film industry’s contribution to South Africa’s economy is projected at R2,91 billion in 2020/21, down from R7.18 billion in 2019/20. Between January and September 2021, a total of 104 locally (SA) and internationally produced films were released in South Africa, generating a Box Office Gross of R126,6 million, according to a report by NFVF South Africa. 

Statista projected that the revenue of motion picture and video production and distribution in South Africa will amount to approximately 589.7 million U.S. Dollars by 2023.

The film and television industry stakeholders must connect with fans, employers and service providers. Today’s audiences have a lot of power; a film or television show relies heavily on word of mouth. Advanced software programs can provide production companies, streaming services, and production companies with meaningful field support and answer customer questions whenever they arise.

Virtual Reality (VR) technology involves computer simulation to generate a three-dimensional virtual world. Then, using external interactive devices, the user gets a more profound immersive experience (visual, auditory, tactile). In addition, it brings audiences closer to the story by inducing deep empathy.

The film industry relies on technology and is innovative in many areas, from CGI to sound system upgrades. AI in the film industry can improve recurring billing and handling paperwork processes. Additionally, it can aid creative endeavours. Therefore, the film industry will continue to embrace AI, influencing the movies and shows produced.

Increased Content Spending
As more platforms emerge and audience demand rises, spending on content production increases.

In 2020, a record-breaking $220.2 billion was spent making and acquiring new feature films and TV programming—a 16.5% increase compared to production spending in 2019.

Sequels and Remakes
Reviving a classic for a modern audience or continuing a beloved, commercially successful film or television show is all the trend in Hollywood and film markets worldwide.

Diversity in Representation
There have been recent pushes for better representations of human diversity and diverse viewpoints. As a result, there has been an increase in films and shows from various perspectives: women, people of colour, and other underrepresented groups. 

The following are areas for research in the film industry: 

African Storytelling

The Business of Film

Social & Other Aspects of Filmmaking

Themes, Subjects and Characters

Diversity Equity and Inclusion in the film and television Industry

Science and Technology in Film and Television IndustrY

Due to the lower entry barrier, the film industry employs many people, from formally educated to artisans. As a result, it allows people with diverse backgrounds to have economic opportunities.

Quality education 
Filmmaking plays a crucial role in talent development, especially in creating programmes for children. It also involves using the latest technology to develop educational materials for students. 

The industry is one of the few where any imaginable job can be found. It has fostered innovation and has spurred infrastructural growth.

SDG 17
Transition networks for youth, culture and media are needed in filmmaking. They group thousands of professionals around the theme of sustainability. They play an essential role in connecting these people and their organisations.

The following challenges are affecting the effectiveness and growth of the film industry in Africa: 

The lack of proper funding; has led to low-quality movies. 
Until recently, private corporate funding for the African film industry was scarce. However, a budding relationship exists between players in the industry and private equity firms and venture capitalists and other financial institutions.

Absence of a strong cinema culture: As a result, the market size has shrunk. Africa is the most underserved continent concerning cinema distribution. Film education strategies are opportunities to need to educate the public on film and cinema, and more institutional funding to increase cinema screens.

Copyright infringement affects profitability and discourages potential funding sources for film production. The piracy problem’s core is a profound lack of understanding of intellectual property issues, which concerns all stakeholders, including consumers, regulators, law enforcement agencies, and filmmakers. Unfortunately, consumer attitudes across Africa show a widespread tolerance of piracy, with pirate practices completely normalised and integrated into daily life.

High level of government censorship: Film projects, especially those with historical themes which are likely to promote a perspective unwanted by the government, are censored.Pan-African collaboration: More African countries should collaborate to create richer storytelling and increase the regional market size.

Algorithmic Video Editing
It refers to a technique for editing and reassembling footage based on a schema, outline or model. It requires coding skills. However, a code snippet would take very little time to handle the editing process. The code accesses the footage as data and arranges it according to the instruction. It has a wide range of users, from Big companies like Disney to YouTube creators.

Virtual Reality
Virtual reality (VR) is a three-dimensional, simulated environment generated by computer technology. VR allows users to interact with objects, physically look around within the VR environment, and perform specific actions. Filmmakers use VR to fully immerse a viewer in a story as an audience and as a character. It requires digital skills: UI/UX Design, Modelling & Simulation and Graphics design.

Digital Re-creation
It is simply using Computer Generated Imagery to digitally re-create people, for example, the appearance of the late Paul Walker in the Fast & Furious movies. The technology can also de-age actors (makes them appear younger). It mainly requires modelling and simulation design skills.

Filming Equipment—for Phones (Smartphone Filmmaking Gear)
Modern tiny, thin, and elegant device accessories now allow the creation of professional-level films and videos for social media, film festivals, and theatrical releases.

Computer Generated Imagery
Computer-generated imagery (CGI) refers to digitally-created images in film and television. It is a subcategory of visual effects. Here filmmakers can create or manipulate unexisting imagery in the physical environment captured on film or video. It mainly requires digital design skills.

Digital content distribution
A lot of films and television shows are now distributed on digital platforms. However, it is challenging how storytellers and content creators distribute their work—creatively and business-wise.

3D printing
The film industry uses 3D printing to produce costumes, props and objects to make more realistic imagery. 

Although the film industry is filled with several career opportunities, the most challenging part of getting started is getting the first job. Success in the film industry relies on individual ingenuity rather than formal education or degrees. It requires intelligence, creativity, and originality to thrive in the film industry. More importantly, it requires socialising and networking to make connections.

Popular careers in the film industry include:
Actor, Artist, Scriptwriter, Director, Assitant Director, Executive Producer, Production Designer, Legal Representative, Editor, Animator, Colourist, Camera Operator, Music Supervisor, Sound Supervisor, Sound Technician, Boom Operator, Production Manager, Foley Artist, Scouting crew, Set Designer, Production assistant, Choreographer, Talent scout agent or manager, Costume Designer, Composer and Arranger, Makeup Artist, Special and Visual Effects Technician, Stunt Performer, Dancer, Audio Recording Engineers, Graphic Designer, Graphics Programmer, Lighting Technician, Music Conductor/ Director, Location Manager, Casting Director, Cinematographer, Production Designer, Sound Designer, Props Manager, Program researcher, Publicist

The highest paying roles in the film industry include directing, screenwriting, acting and talent management (for star performers), animation, cinematography, editing, producing and distribution deals. For production crew members, wages are the usual mode of remuneration. However, it is an industry with a wide variation in wages that may depend on the production company, distribution deals, and the market. 

  1. Communication and persuasion. Good
    communication skills are crucial in this industry. Filmmaking requires effective communication to bring a vision to life, collaborate on teams and efficiently tell a story. 
  2. Creativity and critical thinking. Creativity is the bedrock of filmmaking. From start to finish, filmmaking requires creativity from everyone involved in the process.
  3. Analysis and problem-solving. Any role in the filmmaking process requires being analytical and solving problems every day in whatever phase of the process. Whether leading production, directing or working behind the cameras, you are problem-solving at every point.
  4. Professionalism and industry awareness. Filmmaking requires technical experience. It is essential to know the actual technology, rules and current trends used in your role in the industry.
  5. Digital Skills. 
  • Content development, especially for social media visibility and engagement during the marketing of a film or television show
  • Data Science: Streaming services use data science to figure out audience interests and apply it to storytelling and distribution

Getting a degree related to the film industry may provide greater leeway for a career in the industry. Still, it is not usually compulsory to have such degrees to excel in the industry. It is an industry where learning on the job and experience is dominant. While some film studies degrees combine both technical and theoretical knowledge, others focus more on the theory of film and filmmaking. Work experience will help you decide which direction to take after your degree. 

Benefits of studying for a degree related to the film and television industry include the opportunity to develop a portfolio of your work which is essential to pursuing a career in film. Another benefit is the opportunities to showcase your work, for example, at festivals and competitions and attend guest lectures and events from people in the industry. Degrees native to the film industry include a Bachelor or Master of Fine Arts in:

Film Production
Film Studies
Film Motion Design
Film, TV Programme and Video Games Directing
Animation Production
Film Studies and English Literature
Film and Moving Image Production
Cinematic Arts

Professional certificates relevant to the industry include:
Certificate Programs in Media Production – Filmmaking Management
Certificate in Collaborative Filmmaking (CCF)
Multimedia for Film and Television Application
Documentary Filmmaking Certificate
Certificate in Audio postproduction

Most of the production jobs in the industry are not formally advertised but circulated through word of mouth. Hence, being geographically located in film production hubs is an advantage. Top film cities globally include Lagos, Casablanca, Johannesburg and Cape Town in Africa; Los Angeles, Atlanta and New York in the US; Berlin, London and Paris in Europe; Mumbai, Hong Kong and Beijing in Asia.

Related degrees may provide greater leeway for a career in the industry. It is an industry where learning on the job and experience are dominant, giving networking opportunities to succeed in the industry. You would have to be proactive in reaching out to companies and Directors by cold emailing or reaching out to those accessible to your network. Even more important is maintaining a solid relationship with contacts that can engage you when opportunities are available. 

There is no singular pathway into the industry. However, here are a few tips to help you gain entry:

  • Meet other filmmakers. The film industry is all about connections. Attend film festivals, screening events, and Film Courses and join a film group.
  • Filmmaking is not just about directors, cameras, and lights. There are numerous jobs in the industry that could be easier to get into. You can start as a production assistant to learn the mechanics of filmmaking and work your way up. 
  • Learn your trade. Go for it if you know what part of filmmaking you want to pursue. Read every book, watch every YouTube tutorial, take Classes, and start doing it on your films and other people’s projects.
  • Make contacts and make an impression. Reputation is a currency in the industry; so many jobs are through word of mouth. Build an excellent reputation always to get recommendations for the next job and the next job.
  • Get a representative. Most people in the industry do not usually get an agent, manager, or lawyer until they have a few credits under their belt. However, if you are coming in from a role/career adjacent to the film industry, for example, a musician transitioning into acting, it would be easier to get a representative.


A 12-hour workday is standard in the film industry. However, going as high as 14 to 18 hours is not unusual. Depending on the project, there can be multiple breaks to eat and get some rest. Below the line workers (technical workers) usually bear the brunt of the long work hours.

The industry is highly collaborative, from writing to physical production to editing, distribution, and marketing. As a result, the film industry is a highly competitive industry offering many opportunities for entry, but one in which it can be challenging to break through. From getting acting roles, pitching your stories, and producing your features, rejection is usual in the industry. 

Beyond talent, it takes persistence and readiness to adapt to changing times to succeed in the industry. Though often overlooked, immense opportunities exist in the movie distribution value chain. Players in this space include film retailers, cinema companies and technology companies delivering streaming Video on Demand (VOD) and over-the-top (OTT) content.

The International Federation of the Phonographic Industry (IFPI)
Fédération Internationale des Archives du Film (FIAF), 

Industry Associations and Professional Bodies

International Academy of Television Arts and Sciences
Academy of Motion Picture Art and Science (AMPA)
Film Music Network
Independent Feature Project
The Society of Composers and Lyricists

Ghana Academy of Film and Television Arts

Kenya film and Television Professional Associations, Kenya National Film Association

Nigerian Film Corporation, Nigerian Copyright Commission (NCC), National Film and Video Censors Board (NFVCB)Actors Guild of Nigeria (AGN), Association of Movie Producers (AMP), Directors’ Guild of Nigeria (DGN), Nigerian Society of Cinematographers (NSC), Screen Writers Guild of Nigeria (SWGN).

Nigerian Guild of Editors (NGE), Creative Designers Guild of Nigeria (CDGN), Association of Nollywood Core Producers (ANCOP), Association of Nigerian Theater Practitioners (ANTP), Motion Picture Association of Nigeria (MOPAN), Association of Movie Practitioners (AMP).

South Africa
South African Screen Federation (SASFED), A.S.A. – Animation South Africa, The Independent Producers’ Organisation (IPO), The Personal Managers’ Association (PMA), South African Guild of Actors (SAGA), South African Guild of Editors (SAGE), Sisters Working In Film And Television (SWIFT), Writers’ Guild of South Africa (WGSA)

John Dumelo, Jackie Appiah, Van Vicker, Yvonne Nelson, Michel Majid, Chris Attoh, Nadia Buari, Juliet Ibrahim, Kofi Kyei, Socrates Sarfo

Tosh Gitonga, Mbithi Masya, Victor Gatonye, Cajetan Boy

Mo Abudu (Media Mogul), Mary Njoku, Niyi Akinmolayan (Filmmaker), Kunle Afolayan (Actor), Kemi Adetiba (Filmmaker), Zainab Balogun (Actress), James Omokwe, Victor, Sanchez Aghahowa, Emil Garuba, Kenneth Gyang, Dami Elebe, Biodun Stephen, Genevieve Nnaji, Ramsey Nuoah, Richard Mofe Damijo, Dimbo Atiya.

South Africa
Ntokozo Mbuli, Neill Blomkamp, Zee Ntuli, Embeth Davidtz, Roger Michell, Gavin Hood, Tosca Musk, Pearl Thus, Petronella Tshuma, Mothusi Magano, Jesse Suntele, Rosemary Zimu, Arnold Vosloo.

The International Federation of the Phonographic Industry (IFPI)
Fédération Internationale des Archives du Film (FIAF).

National Film Authority, Ministry of Tourism, Arts and Culture, Film Classification Committee

Ministry of Sports, Culture and Heritage, The Kenya Film Commission, The Kenya Film Classification Board, Department of Film Services

Nigerian Film Corporation, Nigerian Copyright Commission (NCC), National Film and Video Censors Board (NFVCB).

South Africa
Film and Publication Board

Netflix, Hulu, Sony, Warner Bros, Paramount Pictures, Metro-Goldwyn-Mayer Studios, DreamWorks Pictures, Sony Pictures Motion Picture Group, Walt Disney Studios, Universal Pictures, 20th Century Fox, Paramount Pictures, Lionsgate Films, Tyler Perry Studios, Gaiam Vivendi Entertainment, Skydance Media, Viacom CBS, BBC (Films), WarnerMedia Studios & Networks, NBCUniversal, AMC Theatres, Cineworld, Cinepolis, Cineplex, Cinemark, Canal+, Blackmagic Design, Canon, Panasonic, FujiFilm, Sigma Cameras

African Companies/Startups
Multichoice, ShowMax, Econet Media, Iroko TV

Vivideye Concepts LLC., Hkogh Motion Picture Productions, Ghana Casting Agency, OXY Studios, Farmhouse Productions, EM Multimedia, Film Etoile, UCA Multimedia Studio, Big Stage Productions, i60 Productions, Agyeboat Ventures, Kessben TV, Revele Film Productions, Thiqline Production, Vivid Eye Concepts, The Pirates Films, Vals Production, Beats Radio Ghana.

Chams Media Limited, Buni Media, Mombasa Butterfly House, ATL Entertainment, Airplift Media, Insignia Productions, Protel Studios, Phil It Productions, Alwan Communications Limited, A24 Media, Ginger Ink Films, Blue Sky Films, Zebra Productions Kenya, Fat Rain Films, Afro Films International Co. Ltd, Zamaradi Productions, Amitations Studio, Africasnowman Production Ltd, Feral Film Production, Evergreen Pictures Ltd, Moon Beam Productions, AI is on Production, Quite Bright Films Kenya, Selene Studios, White Rhino Films, Media Force Communications, Visual Works, Studio Ang, aJab Pictures, Fiction Entertainment.

Nigeria Leading Companies, Startups and Employers
Multichoice Nigeria, Inkblot Productions, Mainframe Films and Television Productions, Rok Studios, Wale Adenuga Production, EbonyLife TV, FilmOne, Corporate Pictures Nigeria Ltd, Zentury Pictures Limited, Silverbird Group, The Entertainment Network (TEN), Golden Effects Pictures, Anthill Studios, Livespot360, Zuri24 Media, Notes Inc Media, Blk Hut Media, Native Media, TatafoHQ, Feemo Vision Limited, Greoh Studios, Baron’s World, Remote Productions, The Temple Company, Play Network Studios.

South Africa 
Stillking Films cape town, kykNET, Sunrise Production, M-net, Afrokaans Film & Television, Lifetree, Magic Mountain Events, Echo Production, Videovision, Glo films, Titanium Television, Crows Nest Jib, Vista Systems, Cash Production, Q-studios, Stealth Donkey Moving pictures, Time Frame, Hard-Time Production, Sparkhouse, Astral Studios, Orange Films, Trilogy Creative studios, AAA Entertainment.

The Hollywood Reporter
Roger Ebert
Filmmaker Magazine
Close Up: Online UK film magazine
Eye For Film
Film Comment

The Ride of a Lifetime by Bob Iger

Entertainment industry economics by Harold L. Vogel
The Business of Film by Paula Landry and Stephen R. Greenwald
Hollywood Producers Directory by J. Douma & D. Perez
Making Movies by Sidney Lumet
In The Blink Of An Eye by Walter Murch 
On Directing Film by David Mamet
Rebel Without A Crew by Robert Rodriguez
Something Like An Autobiography by Akira Kurosawa

Taking It All In by Pauline Kael
Master Shots Vol. 1,2,3 by Christopher Kenworthy
The Filmmaker’s Handbook by S. Ascher & E. Pincus
If It’s Purple, Someone’s Gonna Die by Patti Bellatoni

Entourage (2015)
Hitchcock (2012)
Bowfinger (1999)
Birdman Or (The Unexpected Virtue Of Ignorance) (2014)
Trumbo (2015)
Dolemite Is My Name (2019)
La La Land
Once Upon A Time In Hollywood
The Aviator

The Frame
Indie Film Hustle
The Business
The A24 Podcast
Angle on Producers (Life With Caca)
Sceneful Sundays
The Exploring Nollywood Podcast

Venice International Film Festival, 
The Cannes Film Festival, 
TriBeCa Film Festival, 
Sundance Film Festival, 
SXSW Film Festival
Emmy Awards 
Golden Globe Awards
Nollywood Week Film Festival
Africa International Film Festival (AFRIFF)
Africa Magic Viewers Choice Award (AMVCA)
Africa Movie Academy Award (AMAA),significantly%20boosted%20the%20industry%20in,film%20festivals%2C%20distribution%20and%20actors.–qiZf3AhUdhv0HHRtKDOUQFnoECC0QBQ&usg=AOvVaw2F122SvcW5p207Iu04Bge1,business%252C%2520or%2520another%2520related%2520subject.&ved=2ahUKEwiYjPi-7pb3AhUhx4UKHZCZAZkQFnoECA8QBQ&usg=AOvVaw1rJi0pDKNkB2xyvIJU1wS7 › …PDF

Sustainable Development Goals Guide for the filming sector,environment%2C%20and%20perform%20specific%20actions.!