When news broke about the historic Cannes selection of My Father’s Shadow, a few other Nigerian filmmakers quickly announced their own Cannes premiere, though worded vaguely, as if they were official selections. But the fact is, while their films did screen during the Cannes event, they were market screenings and supporting events, not part of the festival line-up
Usually attached to film festivals, a film market is a parallel business space, like a trade fair, with rows of booths, packed schedules, and countless conversations. It is a valuable opportunity, but it is not the same as competing in the festival itself. The same applies to other international festivals. It’s always worth looking closely at the category or section to understand what kind of screening it truly is. That distinction matters, especially in a time when announcements and global industry “noise” often blur the lines.
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What Really Happens at a Film Market
Each year, global events like Cannes’ Marché du Film, the European Film Market at Berlinale, or the American Film Market in Los Angeles become buzzing hubs for the business of film. There are also regional players like the Asian Contents & Film Market in Busan, Filmart in Hong Kong, and FAME Week in South Africa. Specialised markets, such as Sunny Side of the Doc in La Rochelle or the Clermont Short Film Market, zoom in on particular niches.
These markets are paid spaces where much more than finished films change hands. Story ideas, services, and even future collaborations are actively traded. Producers pitch packages—often a script with a star or filmmaker attached—to potential co-producers. Technical service providers are also on the ground. Countries set up national pavilions, marketing themselves as production hubs with tax incentives and location perks. Each year, a “country of focus” gets the spotlight, showcasing cultural diplomacy alongside cinema.
There are also events within the market itself, such as workshops, seminars, and conferences where industry knowledge is shared, and sometimes even screenings are organised during side mini events. For example, African Film Press (an alliance WKMUp belongs to) participated in the 2025 EFM Startups programme at Berlinale, pitching a tech-leaning idea around the alliance to potential funders and investors. Such opportunities exist alongside the traditional film business. Other kinds of streamers, beyond the familiar Netflix and co, also scout these markets. Countries often attend with select professionals and companies, further expanding the scope of connections that can be made.
For independent filmmakers, these events open doors that would otherwise remain shut. One meeting can unlock co-production funding; one chance encounter can lead to international distribution. But it only works if filmmakers show up prepared.
Introducing the AFRIFF Film & Content Market
This year, a Nigerian festival will finally launch a film market of its own. The AFRIFF Film & Content Market (AFCM) will debut from November 3–6, running alongside the 14th edition of the African International Film Festival (AFRIFF). It is a bold attempt to bring the kinds of business interactions that typically happen many miles away right to Lagos.
At an information session held on September 2 at Alliance Française Lagos (and streamed online), AFRIFF founder Chioma Ude explained the motivation. The “exit” of global streamers from Nigeria after a few years of consideration raised a pressing question: how are average Nigerian producers, who rarely travel to international markets, supposed to survive? AFCM, she argued, is designed to bridge that gap.
The market promises a floor plan of booths for guilds, collectives, and production companies; a country of focus (to be announced soon); and an accreditation system that will allow filmmakers to create profiles, upload projects, and pre-arrange meetings with potential partners.
Lessons from the Info Session
The info session event, hosted by Latasha Ngwube, teased the possibilities and realities of film markets. Notable guests included actors and filmmakers such as Deyemi Okanlawon, Funmbi Ogunbanwo, Bovi, Ozzy Agu, Tracey George, Charles Novia and NFVCB Director-General Dr. Shuaibu Husseini. The almost 3-hour event hosted a presentation and a panel that offered tangible tips to prospective AFCM attendees. Also, the former director of the European Film Market, Dennis Ruh (serving as an AFCM consultant), joined virtually to deliver a Film Market 101 presentation.
During the Victor Okhai-moderated panel, Victor Sanchez Aghahowa drew from his experience at MIPCOM, reminding filmmakers that film markets are not just about films. He has brokered deals around subtitling, dubbing, and sound mixing. His key advice: “buyers come with an agenda. You either fit into it or make them rethink it.”
Victor Okpala echoed the potential of markets, sharing that his biggest deal as a filmmaker—becoming the Nigerian aggregator for iflix—happened at a market. For Chioma Onyenwe, markets are spaces for long-term thinking and relationship building. She cited the co-production journey of The Legend of the Vagabond Queen of Lagos, which came to life because she was brought in at a market where international partners needed a Nigerian collaborator.
Enyi Omeruah offered a more practical tip: start from LinkedIn. Before arriving at a market, send out simple messages: “anyone want to meet me?” Then, begin scheduling meetings like dates. The opportunities span pre-sales, co-production agreements, and pitching to investors.
During the extended Q&A, there was a key question about short films. An audience member asked if there was any market opportunity for shorts. The panelists responded that shorts can be calling cards, training grounds, or packaged into anthologies. “Use it as a rod to part the Red Sea and perform other miracles,” quipped Victor Okhai.
Preparing for the Market
Every speaker at the session stressed that preparation is everything. Accreditation is not just a ticket; it is a process that involves creating a professional profile, uploading projects, and browsing the catalogue of other participants to line up meetings in advance. Once inside, filmmakers must be ready to walk, stand, talk, and follow up. Deals are rarely sealed on the spot; they are usually the beginning of longer conversations that continue across weeks or months.
Chioma Ude also teases that advertising agencies may show up looking for films to weave their brands into. Streamers beyond the global majors could scout for content. International producers may be seeking specific regional knowledge or expertise. The opportunities are wide, but they require persistence and clarity of purpose.
Why AFCM Matters Now
The launch of the AFCM comes at a critical moment. With streamers scaling back in Nigeria and across Africa, filmmakers must look beyond traditional distribution pipelines. Co-productions, pre-sales, and non-traditional distribution routes offer alternatives to sustainability. By hosting a market in Lagos, AFRIFF gives Nigerian filmmakers a chance to engage these opportunities without necessarily travelling abroad. With AFCM, the hurdles of costs and visa processes are partly scaled.
If executed as intended, AFCM could usher in fresh visibility, new revenue streams, and more collaborations. It might also encourage more co-productions within the continent itself. The excitement around this inaugural event amongst the filmmakers during the session was palpable and rightly so.
At the same time, questions remain. Will international buyers potentially take these films out of Nigerian and African circulation, given the limited number of local platforms and distribution pathways? While more opportunities undoubtedly exist outside the continent, it is equally important to ensure that audiences at home are not left behind and the government matches private efforts with serious policymaking.
Looking Ahead
The AFRIFF Film & Content Market will run from November 3–6, while the 14th edition of the festival itself takes place from November 2–8. Booths will be open daily from 10 a.m. to 6 p.m., with Twin Water Lagos and Maradiva Hall announced as venues (pending official confirmation as the website still reads National Theatre).
More festival and market announcements are expected on October 2.
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