Why Cameroonian Filmmakers Are Teaming Up with Nollywood

Recently, an increasing number of Cameroonian filmmakers have found themselves looking beyond their borders and straight into Nollywood. Nigeria’s booming film industry, known for its wide reach and consistent output, has become a new home and a lifeline for creatives trying to stay afloat amid mounting challenges back in Cameroon.

Is it shrinking stage at home

Cameroon’s film industry isn’t short of talent, but it’s weighed down by a perfect storm of problems, poor distribution, civil unrest, and a lingering divide between Anglophone and Francophone regions. 

These issues have made it harder for local filmmakers to produce, market, and monetise their work.

Eystein Young Dingha, a seasoned filmmaker, admits the system isn’t working. And he’s not alone. Many of his peers have taken the bold step of partnering with Nigeria’s entertainment ecosystem, where the opportunities are wider and the infrastructure more supportive.

Linguistic barriers and the anglophone struggle

One of Cameroon’s deepest wounds is its language divide. With the country being largely Francophone, Anglophone filmmakers often find themselves excluded or pressured to conform. 

Francophone broadcasters and platforms, according to actress and producer Stephanie Tum, frequently dismiss English-language films, regardless of their quality.

Veteran filmmaker Itambi Delphine shares the same frustration. “They ask us to shoot in French, but our stories don’t always belong in that language,” she explained. This marginalisation pushes English-speaking creatives to seek markets where their voices are heard—like Nigeria, where English-language films are the norm.

Missed opportunities with netflix

There was a moment of hope when Netflix dabbled in Cameroon between 2020 and 2023. During that time, budgets rose, production quality improved, and filmmakers dared to dream. But when the platform pulled out due to low profitability, it left a vacuum no one was ready to fill.

Today, without a local content aggregator, many Cameroonian creators have to rely on Nigerian platforms like FilmOne to get their films out. While it opens doors, it also underlines how dependent Cameroon has become on its neighbour.

Infrastructure Woes – No screens, no shows

Cinema is a powerful vehicle for storytelling but in Cameroon, the vehicle barely runs. The country has only three cinemas nationwide, a shocking figure for a nation with such rich creative potential. Cable TV isn’t much better. 

Most of the country’s 90+ stations lean heavily towards foreign content, especially Nollywood.

As a result, Cameroonian filmmakers, especially those from the Anglophone regions, are pushed even further to the margins. Francophone creators might have some support from French media partners, but for many others, even local airtime is out of reach.

YouTube a necessary compromise

With few formal channels left, many filmmakers have turned to YouTube. But even this comes with complications. Monetisation isn’t available through Cameroonian IP addresses, so creators are forced to upload via foreign accounts or partner with Nigerian channels.

Stephanie Tum is one of the few adapting quickly. She now runs her own YouTube channel and regularly films content in Lagos. Inspired by Nigerian creators like Ruth Kadiri, she’s found ways to stay relevant while staying true to her voice.

Still, some remain hesitant. “I’m not ready to put my stories online unless it’s truly worth it,” Dingha admits. Others, like Delphine, worry that the platform encourages quick content over quality storytelling.

The appeal of nollywood

What’s drawing Cameroonian filmmakers to Nollywood isn’t just infrastructure or distribution, it’s the power of visibility. Nigerian stars carry serious weight across Africa, and casting them often means a film gets noticed. 

Projects like The Planters Plantation and Therapy, which featured Nollywood heavyweights like Nkem Owoh and Richard Mofe Damijo, gained international recognition because of these strategic collaborations.

There’s also the cost factor. Producing a film in Cameroon can be unexpectedly expensive. According to Tum, a basic YouTube film could cost over N12 million in Cameroon—three times what it would take to shoot the same project in Lagos with a wider, more diverse cast.

Government silence

All this is happening under the watch of a government that seems disengaged from the industry’s struggles. There’s little support, few incentives, and almost no vision for turning filmmaking into a sustainable venture. For many, this silence feels like a betrayal.

Delphine is blunt: “The government isn’t bringing in the companies or support systems we need. Without that, we can’t compete.”

Is this a new era of cross-border creativity?

Despite it all, Cameroonian filmmakers are finding ways to adapt. Whether through Nigerian partnerships, YouTube experiments, or hybrid projects that blend resources from both countries, they’re refusing to give up.

The bond with Nollywood may have started as a survival tactic but it’s gradually evolving into something more intentional. A way for Cameroonian storytellers to break free from barriers and connect with a wider African audience.

For now, the road may be tough. But one thing is clear: Cameroon’s filmmakers are not sitting still. They’re moving and Nollywood is meeting them halfway.