Nollywood Dey Go Malawi, But Na Industry We Dey Build Abi Na Shine Shine Bobo?
Malawi is about to host a major Nollywood event, as the Film Association of Malawi (FAMA) announced plans to premiere the Nigerian film “Ikenga” on 26 November 2026. The event, part of the Malawi Film Awards and Gala, will happen at the Bingu International Convention Centre (BICC) in Lilongwe.
E be like say prominent Nigerian actors, including Patience Ozokwor, famously known as Mama G, and Kanayo O. Kanayo (K.O.K.), will grace the occasion, alongside other international film personalities. On the surface, this kind of international link-up sounds sweet, giving Malawi film access to a big player like Nigeria's movie industry.
But let's be real, the big question on our minds is: Wetin hosting a whole Nigerian film premiere really do for the long-term growth of the Malawian film industry? Especially when their local scene still dey struggle with plenty foundational wahala. Are these big international shows getting more attention than the actual work needed to build a strong local industry?
This question dey even heavier because Malawi has also been picked to host the Pan-African Actors Round Table Awards (PARA). According to reports, this announcement was made at Nollywood Headquarters in Nigeria, with PARA President Dr Emeka Rollas, Nollywood President Dr Abubakar, and FAMA President Dorothy Kingston all present. The PARA awards are supposed to bring African film professionals together to promote collaboration and networking.
They even talk say this na the start of a long-term partnership between Malawi and Nollywood. All these developments dey suggest say Malawi wan position itself as a hub for continental film events. And honestly, international relationships dey important. Connecting Malawian practitioners with established film industries in Africa is not a bad idea at all.
Nollywood on the Way, But What About the Local Scene?
We no dey vex say Nollywood dey come to Malawi. The real gist is about the priorities, the timing, and why dem dey do am. You cannot build a solid industry just by hosting big names, international premieres, or continental awards. E fit ginger publicity and open doors, but the real impact on sustainable industry growth must show with actual results.
Because when all the international guests don fly back, what exactly dey remain for the Malawian film industry?
Why the Fuss? Malawi's Own Challenges
Malawi's film industry still dey face plenty interconnected issues. Think about am: limited money for production, not enough equipment and technical resources, hardly any professional training, weak distribution channels, small audience engagement, and the struggle to make film production a consistent money-making venture.
These challenges no be small thing wey occasional international events go just fix. These are deep-rooted, structural problems that need serious, sustained attention, investment, and coordinated efforts. Back in 2015, a study by Asso Prof Mufunanji Magalasi, titled “Factors Affecting the Growth of the Malawian Film Industry”, already pointed out these issues. He talked about how local films struggle against foreign productions, the influence of imported films, and weaknesses in their legal and institutional setup. Even though that study na over ten years ago, many of the issues still make sense for today's discussions, especially with these new moves.
The game don change with digital platforms and easy access to international content. But the main question still dey: How can Malawian films get enough visibility, become easily accessible, make profit, and compete both inside their own market and globally? That na where the talk about industry development suppose start. Before Malawi dey jubilate about being a destination for international film events, dem need to check if they dey invest well in their own people, productions, institutions, and distribution systems.
Copyright Fund: Money Well Spent?
One of the biggest questions from the PARA announcement involves the Malawi Copyright Fund. The announcement mentioned, “Courtesy of the Copyright Fund of Malawi.” This makes us wonder: na the best way to use money meant to support the country's creative and copyright industries? Is funding a continental awards event the smartest use of this money right now, especially given the state of the local film industry?
Nobody dey say international exposure, networking, or continental recognition no get value. They certainly do! But the more important question is whether these engagements are the most urgent priorities for an industry still grappling with insufficient production finance, limited infrastructure for distribution, weak audience development, few professional training opportunities, and no comprehensive institutional framework. The Copyright Act of 2016 provides an important point of reference. So, are we really promoting the foundation, or just putting a nice roof on a house with no strong walls?
What do you think? Are these big events the real deal for growth, or just packaging?