Nigeria, Ethiopia, and Egypt make strong showings as the 78th edition of the prestigious Cannes Film Festival celebrates global storytelling and cinematic diversity
CANNES, FRANCE — The 78th Cannes Film Festival officially kicked off Tuesday, launching two weeks of cinematic celebration along the glitzy French Riviera. Renowned for its red carpet glamour and prestigious Palme d’Or competition, the 2025 edition is already generating buzz for its powerful international lineup and significant firsts—particularly for African cinema.
This year’s festival will feature 22 films competing for the Palme d’Or, including new works from acclaimed directors such as Wes Anderson, Richard Linklater, and Lynne Ramsay. But while these heavyweights grab headlines, much of the spotlight this year is shining on emerging voices from Africa, with films from Nigeria, Ethiopia, and Egypt making major strides on the world’s biggest arthouse stage.
“Cannes has long been the arena where international cinema gets elevated,” said Thierry Frémaux, the festival’s director. “This year, we are proud to present a global reflection of storytelling that includes a much-needed African presence.”
Nigeria’s “My Father’s Shadow” Makes History
Among the most talked-about debuts is “My Father’s Shadow”, a Nigerian feature directed by Akinola Davies Jr. The film is earning attention not just for its cinematic artistry but also for being among the first Nigerian films to receive mega recognition at Cannes.
Screening in a prestigious category, My Father’s Shadow explores themes of memory, legacy, and generational trauma, with a distinctly African narrative voice that’s rarely seen at the elite European festival.
“To tell a Nigerian story on a platform as revered as Cannes is both overwhelming and empowering,” Davies Jr. said in a statement. “This recognition is not just for me but for Nigerian cinema as a whole.”
Industry insiders say the film could serve as a turning point for Nollywood on the global stage, helping to reshape perceptions and expand international investment in African storytelling.
Ethiopia and Egypt Represent in Breakthrough Sections
In the Emerging Film Section, Ethiopia is proudly represented by “A Doll Made Up of Clay,” a short film by Kokob Gebrehweria Tesfay. The film intricately weaves folklore and personal narrative, using claymation and surreal imagery to explore childhood resilience and identity.
Tesfay’s work is being lauded for its bold creativity and fresh perspective, opening new artistic avenues for East African filmmakers in international circuits.
Meanwhile, Egyptian director Morad Mostafa is gaining accolades with his debut feature film “Aisha Can’t Fly Away”, selected for Un Certain Regard—a section of the festival that honors innovative storytelling and rising directorial talent. The emotionally charged drama focuses on a young Egyptian woman navigating poverty, displacement, and freedom in a patriarchal society.
“Egypt has a storied cinematic past, and this moment marks a new wave,” Mostafa said in a red carpet interview. “It’s an honor to be part of this year’s celebration of global cinema.”
The Big Names and Global Lineup
In the main competition for the Palme d’Or, several A-list directors return with new offerings:
- Wes Anderson presents The Phoenician Scheme, a visually whimsical political satire.
- Richard Linklater debuts Nouvelle Vague, a nostalgic homage to the French New Wave movement.
- Lynne Ramsay brings her psychological thriller Die, which critics are already predicting as a dark horse contender.
The official opening night film, Leave One Day by French director Amélie Bonnin, set a romantic tone for the festival, while a three-film tribute to Ukraine served as a solemn reminder of global crises that cinema continues to spotlight.
Market Buzz and Industry Highlights
Beyond the red carpet, Cannes continues to be a hotbed for international film acquisitions, attracting producers, studios, and sales agents eager to secure distribution rights for the next breakout hit.
According to festival organizers, interest is particularly high in films from emerging markets, with African titles generating an unprecedented level of attention.
“There’s a growing hunger for authentic, localized stories that transcend borders,” said one acquisitions executive from a European distribution firm. “African cinema is clearly having a moment, and Cannes is the gateway.”
Several panel discussions and side events will also focus on diversifying global cinema, expanding opportunities for underrepresented voices, and increasing access to funding and training for filmmakers in the Global South.
African Cinema’s Long Road to Recognition
While African films have been featured at Cannes in the past, the 2025 edition marks a significant uptick in visibility and artistic validation. Historically, African directors have struggled for equal representation in Western-dominated festival lineups due to systemic underfunding, limited access to international co-productions, and distribution challenges.
But this year’s breakthrough entries signal a shift in cultural consciousness, one fueled by grassroots filmmaking movements, diaspora support, and digital accessibility.
“The world is finally tuning into African narratives not just as exotic detours but as essential, central perspectives,” said Nigerian film critic Kemi Ajayi. “What we’re seeing at Cannes this year is the beginning of a new canon.”
Looking Ahead
The Cannes Film Festival 2025 will run until Saturday, May 24, with the Palme d’Or and other top prizes to be awarded during a closing ceremony attended by global film elites.
As the cinematic world descends upon Cannes, the rising wave of African talent is poised not only to leave a mark but to reshape the future of global storytelling.
“We’re not just guests anymore,” said Akinola Davies Jr. “We’re here to stay.”
