African stories have long found their way to global stages—through international festivals, streaming platforms, and cinema screens—carrying with them a distinctive blend of cinematography and powerful storytelling. The recent announcement of My Father’s Shadow by Akinola Davies Jr., set to debut at this year’s Cannes Film Festival, marks a historic milestone as the first Nigerian feature to screen at the prestigious event. The film will premiere in the Un Certain Regard category, which celebrates emerging and visionary filmmakers.

This achievement follows in the footsteps of notable moments such as Souleymane Cissé becoming the first filmmaker from sub-Saharan Africa to receive the Golden Coach in 2023, and C.J. Obasi’s Mami Wata premiered at the Sundance Film Festival in the same year, where it won the Special Jury Prize for Cinematography in the World Dramatic Competition. Davies Jr. film is the first set in Nigeria to be featured at Cannes, reinforcing the growing global recognition of African cinema. The festival will take place from May 13 to 24.

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My Father’s Shadow

The film, directed and executive produced by Davies Jr. and written by Wale Davies—who also serves as an executive producer—stars Ṣọpẹ́ Dìrísù, who is likewise an executive producer on the project and is best known for his roles in Slow Horses, The Gorge, and Gangs of London. Describing Dìrísù’s performance, Davies Jr. called him “a powerhouse who has brought such magic to his character and taken the script to a whole new level.” Set in Lagos in the aftermath of the 1993 presidential election, the story follows Folarin (played by Dirisu) and his two sons, Remi and Akin (played by Godwin and Marvellous Egbo), as they attempt to reconnect amid the country’s political turmoil.

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My Father’s Shadow marks Davies Jr.’s semi-autobiographical debut feature and was presented by BBC Film and BFI, in association with the Match Factory, Fremantle, Electric Theatre Collective and MUBI. It's an Element Pictures production in association with Crybaby and Fatherland. Even before its Cannes debut was announced, the film had already gained support from MUBI, which secured distribution rights to the film in North America, the UK, Ireland, and Turkey. Recently, it has gotten French distribution through Le Pacte. The Davies brothers’ inclusion at Cannes comes as no surprise; their short film Lizard won the Grand Jury Prize at Sundance in 2021 and received a BAFTA nomination for Best British Short Film—proof that their commitment to cinematic excellence continues to gain recognition.

While speaking with CNN, Davies Jr. said he sees the Cannes premiere as an honour to everyone who has laid the foundation for Nigerian cinema. He also stated, “I am excited to be an ambassador for arthouse film in Nigeria, and even more excited for our cast and crew, whose talent and hard work truly deserve this spotlight. I’m excited to share with you a part of my home and the city I grew up in, which is rarely seen on screen.”

The founder and co-founder of Fatherland Productions, Funmbi Ogunbanwo, also described the premiere at Cannes as a wonderful feeling—seeing the film come to life on a global stage. She said, “I feel both excitement and a weight of responsibility, representing independent Nigerian filmmakers who create against the odds. We hope people who watch this film will discover who we are as a people, understand where we come from, and see that this is only the start of how far our stories can go.”

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What This Means for African Cinema and Indie Filmmakers

Historically, African cinema—particularly from Francophone countries—has had a longstanding presence at the Cannes Film Festival. Filmmakers such as Senegal’s Djibril Diop Mambéty, Mali’s Souleymane Cissé, Chad’s Mahamat-Saleh Haroun, Kenya’s Wanuri Kahiu, and Zambia’s Rungano Nyoni have all showcased their work at the prestigious event, often earning critical acclaim and awards.

However, Nigerian films have seen limited representation at Cannes, typically appearing outside the festival’s official selection. A notable example is from 2007, when Nigerian filmmaker Newton I. Aduaka’s Ezra—set in Sierra Leone—was screened during the International Critics’ Week. This context makes the screening of My Father’s Shadow a historic achievement worthy of celebration. It signifies that Nigerian narratives are extending beyond streaming platforms and local cinemas, gradually gaining recognition in major international film conversations and festivals, while still presenting authentic Nigerian stories.

While this is a win for African cinema as a whole, it also serves as a recognition and celebration of the persistent efforts by Nigerian indie filmmakers. These filmmakers have consistently created projects that have captured the attention of esteemed festivals like Sundance and Cannes. As film critic Seyi Lasisi puts it, “It is a great day for the Nigerian indie community. Over the years, they have relentlessly tried to make artistically driven and intellectually conscious films. It is heart-warming seeing them get this recognition. For these filmmakers in Nigeria and across Africa, it is a testament to their resilience and shows how far our films can go. I hope the African indie community picks up the momentum.”

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Is This Nigeria’s Cinematic Breakthrough—or Just a Moment?

Aside from Davies Jr.’s debut, the Nigerian Ministry of Arts, Culture, Tourism, and the Creative Economy will also launch “Screen Nigeria”—a project under the ministry’s “Destination 2030: Nigeria Everywhere” initiative. The goal is to create two million jobs in the creative and tourism industries and contribute significantly to Nigeria’s GDP by 2030. In addition to the selected film, Nigeria will also showcase some of the country’s finest talent, aiming to foster international collaboration and attract foreign investment. If executed properly, this project could open new doors for Nollywood. However, is Nigeria’s Cannes appearance actually changing anything within the film industry?

Yes, the recognition is worth celebrating—but it doesn’t address the ongoing issue of poor distribution that plagues the industry, nor the challenges faced by Nigerian indie filmmakers. After Obasi’s Mami Wata premiered at Sundance, its distribution in Nigeria was subpar, as several cinemas across the country didn’t screen the film. Even when streaming platforms acquire the rights to these films, Nigerian and broader African audiences are often not the primary target.

There’s also a persistent perception that Nigerian cinephiles won’t watch “art films.” Yet, year after year, festivals like the Surreal16 Collective consistently attract audiences for artistically minded films. So while we celebrate the prestige of appearing at Cannes, we must also see it as motivation—a call for Nollywood and the broader African film ecosystem to fix distribution channels. Africans should be able to watch the films they’re celebrating, not just imagine them from a synopsis.

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Other African Films at Cannes

As we celebrate the film’s showcase at the festival, it is not the only African representative. Also in the Un Certain Regard category is Aisha Can’t Fly Away by Egyptian filmmaker Morad Mostafa, and Promised Sky by French-Tunisian filmmaker Erige Sehiri. Other Africans showcasing their films include Swedish-Egyptian director Tarik Saleh, who is competing for the Palme d’Or with his film Eagles of the Republic, and South Africa’s Oliver Hermanus, presenting his U.S.-set film The History of Sound, featuring Paul Mescal and Josh O’Connor.

Other films competing at the festival include Scarlett Johansson’s debut, Eleanor the Great, Harris Dickinson’s Urchin, Ari Lester’s Leave One Day, Eddington, Christopher McQuarrie’s Mission: Impossible – The Final Reckoning. Find the full list of selected films here.