My Experience at the Africa Films for Impact Festival

Ramatu Ada Ochekliye at the 2025 Africa Films for Impact Festival, which happened in Abuja from October 29–31. 2025 

by Ramatu Ada Ochekliye

This year, I was a fellow of the Africa Films for Impact Festival (AFFIF) through its Films for Impact Fellowship.

The Africa Films for Impact Festival is an annual event committed to showcasing and amplifying the voices of human rights and social justice films. It also builds the capacity of emerging filmmakers to produce such films through its fellowship program. The 2025 edition of the festival was themed Be The Change and held at the Silverbird Cinemas in Abuja, while also providing access to a global audience virtually.

Over three days, the festival featured short and feature narrative and documentary screenings, masterclasses, panel discussions, workshops, and the Impact Awards. Each session explored social issues such as human rights, democracy and accountability, anti-corruption, human trafficking, gender equity, sexual and gender-based violence, climate change, drug abuse and trafficking, health, peace and security, counterterrorism, and digital rights.

This was my first time attending the festival, even though I have wanted to attend each year it was hosted in Abuja. But…balancing a day job, a hectic schedule, and managing my non-profit didn't allow me much time to attend these kinds of events. 

The festival opened with Burning, a film about migration and the refugee situation, produced by Isabella Alexander-Nathani and Small World Films. What a documentary this was! It followed the lives of ten Africans making the arduous journey from their countries in West and Central Africa, through Libya and Morocco, as they sought a better life for themselves in Europe.

The film was visceral. Goodness. I spent so much time crying as we navigated the ins and outs of young people facing cruelty at the hands of North Africans, Europeans, and everyone in between. When I say it was visceral, I mean it with everything in my soul. I was shocked at the things that were done to the people in this film.

Beatings.
Torture.
Rape.
Discrimination.
Slavery.
Murder.

How could people be so cruel? So lacking in humanity? So incredibly wicked? And how was this allowed to continue to happen on a daily basis? One of the saddest things I saw in the documentary was how Africans who looked like me were sent out into the Sahara Desert to die. I remember seeing the blisters on one man’s face, slowly burned by the scorching sun during the day or the frozen air at night as they tried to survive one of the harshest environments on earth.

It was really…too much. 

The story broke me. I have seen and heard a lot about what happens to us, but this documentary… it was too much, in the right way. More Africans—especially those of us with black skin who have been exploited by the powers that be, including our own governments—need to see this film. We need to see how bad things can get if we try to reach Europe through those Afro-European borders and channels. We need to know that these people—Africans like us, and the Europeans on the other side of those massive, electrified fences guarded by some of the vilest people—do not want us in their countries. In fact, they will do (and have done) the most horrendous crimes against humanity to keep us out. They have no qualms exploiting us and our resources, but they do not want us seeking refuge from the carnage they helped create.

I can still see the images from the film: the laughter of the people, their sadness, the pain they accepted, and the stubborn hope they carried. And like I wrote in my article To Africans in Countries That Do Not Want Them, this is why we have to, collectively, rewrite the entirety of our lives as Africans. We need to make our countries work. When each of our countries works, our continent will work. And one way to do this is the type of stories we tell about ourselves. It is a small task in the grand scheme of things but every nation that is thriving uses storytelling – and in many cases, propaganda – to drive their narrative.

I especially liked Isabella’s honesty in telling this story. Only a white woman with her kind of passport could have told this story and survived. She shared how her privilege helped her tell it, but even for her, that privilege did not protect her from the systems designed to abuse black Africans seeking a better life.

This story really broke me, and it was the film that stayed with me for days after the festival ended.

Back to the festival. Here are my favorite highlights from the event.

Day One: Opening Day

The morning began with introductions led by Maxwell Akujobi, the Deputy Executive Director of the Films for Impact Foundation. Fellows, filmmakers, and industry professionals took turns sharing what brought them to the festival. The energy in the room was warm and hopeful—people came from different places and experiences, all connected by a shared belief that film can create change.

The National Human Rights Commission opened with a session on human rights and social justice, grounding the conversations that would follow. It was a reminder that film, at its best, is a mirror reflecting the struggles and possibilities of humanity.

Bright Wonder, the founder of the festival, then took the stage for a session titled Storytelling for Change. His passion was contagious. He spoke about how every story has the power to transform minds and influence behaviour. “A film,” he said, “should do more than entertain. It should provoke thought and spark action.” We were grouped for a creative activity that helped us apply what we were learning—how to design stories for measurable impact.

Later, we moved into the official opening ceremony, followed by the screening of Burning and a Q&A session with Isabella Alexander-Nathani. Listening to her speak about the dangers of documenting such stories and the resilience of her subjects was humbling.

The day closed with a panel discussion titled Repositioning Africa Through Film featuring Biodun Stephen, Francis Duru, and Bright Wonder. The conversation explored how African filmmakers can reclaim their narratives and elevate the continent’s image through authentic storytelling. Biodun was so exceptional in this panel session, and you can see her passion for this narrative in the films she makes. The most recent, The Grey Night, gives a similar perspective to our film, That Whole Area of Grey. Together, we are re-examining sexual consent from our vantage points. 

The night at the festival ended with a networking session called Chill and Connect, where I met other filmmakers and shared ideas about collaboration and creative direction.

Day Two: Stories, Structures, and Systems

The second day opened with another powerful masterclass by Bright Wonder on producing for film and television. He spoke with clarity and conviction about the importance of structure and intention in the filmmaking process. “There is no luck in filmmaking,” he said. “It is almost always about strategy and patterns.”

That line stuck with me. It made me think about how I often approach film with passion and vision, but not always with strategic structure.

Later, Ms. Ejiro Otive-Igbuzor led a session on Behavioral Insight and Theory of Change. She guided us through how filmmakers can connect their creative ideas to tangible social outcomes. This topic was not new to me—I have been building capacity in behavioral insights and the theory of change for more than five years—but I am always eager to experience familiar subjects through someone else’s lens. Her approach was fresh and practical, and she shared perspectives that expanded my understanding. I found myself deeply connected to the session, appreciating how she wove theory into real-world storytelling.

The next session, Directing for a Global Audience, featured CJ Obasi and Funmbi Ogunbanwo, moderated by Prince Daniel Aboki. Listening to them discuss the challenges and triumphs of getting African stories into global spaces was inspiring. They both emphasised that the world is ready for African cinema, but only if we tell our stories truthfully, and with excellence.

The rest of the day was filled with powerful film screenings. We Shall Not Forget and Caged Bird explored resilience and confinement, while We Push celebrated the strength of persons with disabilities. Dying for Water was another deeply emotional documentary that exposed the link between environmental degradation and human suffering.

Panels on democracy, accountability, and human rights followed, and then a riveting session on Film Distribution and Impact Storytelling: Commercial vs Impact, featuring Moses Babatope, Chris Odeh, and Bright Wonder. That conversation reminded me that it is possible to balance commercial success with social relevance—something I have been thinking about a lot as I prepare for my first commercial film.

Day Three: The Business and Art of Storytelling

The final day began with a producing masterclass by Chris Odeh. He spoke with the calm authority of someone who has learned through doing. “Everyone should be part of the story,” he said, reminding us that filmmaking is a collective process. He also stressed that every film project is unique and must be approached differently. “Do not make money the centre of your decisions,” he advised. “Find the value that sustains your film.”

Another lesson that resonated was when he said, “You always have something—produce with what you have.” It was such a grounding reminder that creativity thrives within constraints.

Then came Paul Apel Papel’s masterclass on cinematography. His session felt almost spiritual. “If you turn off the sound, can your film still speak?” he asked, challenging us to think visually before verbally.

He explained how movement and light work together to convey emotion. “Film is not about words,” he said. “It is about what the camera sees, feels, and chooses to reveal.” He taught us that static shots communicate reflection or stillness; push-ins suggest realization or intimacy; pull-outs express isolation or loss; and handheld shots capture tension or realism.

“Lighting,” he said, “is not technical. It is emotional. It tells you how the scene feels before the actors even speak.” That line hit me deeply. It reminded me that every aspect of film—sound, light, movement—is storytelling.

By the end of his session, I knew I had to buy Chris Odeh’s book, Before You Say Action. I have been reading it slowly, taking my time to absorb the knowledge, because I want to build a strong foundation for my (and the Shades of Us) future in both impact and commercial filmmaking.

Later in the day, I pitched my film on Democracy and Governance to two potential funders. I was nervous—I always am when it comes to public speaking—but I was proud of myself for doing it anyway. For years, I have self-funded my projects, but I know that if I want to reach more people and create a greater impact, I need to embrace pitching and funding as part of the process.

The festival closed with a red carpet ceremony and the screening of Kaka. The atmosphere was electric, full of celebration and gratitude.

Reflections

I am especially grateful to Bright Wonder and the entire High Definition Film Academy for creating such a rich learning experience. Bright was deeply involved throughout, especially with us fellows, guiding, mentoring, and even taking time to have one-on-one conversations despite the busy schedule.

One of my favorite moments was meeting ace director and producer Steve Gukas again. I had first met him at the inaugural Abuja Literary and Arts Festival, but this was the first time I told him how much I admired his work. His excellence is consistent, and every film he touches reflects care, detail, and vision. He truly deserves all his flowers.

The Africa Films for Impact Festival was a journey of awakening. It reminded me why I tell stories and what those stories can do. I left the festival inspired, informed, and determined to continue creating films that challenge injustice, celebrate resilience, and remind us that change is possible when we choose to be the change.

More Photos of Ramatu Ada Ochekliye at the 2025 Africa Films for Impact Festival, which happened in Abuja from October 29–31. 2025