Leila Djansi, a prominent filmmaker, has issued a fervent plea to the Ghanaian government, specifically President John Dramani Mahama, urging a fundamental shift in approach towards supporting the film industry. Djansi argues that simply injecting funds into the sector without establishing robust structures and systems will be a futile exercise, perpetuating a cycle of dependency and hindering the industry’s potential to become a genuine economic powerhouse. She criticizes the prevailing practice of filmmakers constantly appealing for financial assistance with each change in government, lamenting that this has effectively reduced the industry to a burden on the state rather than a contributor to national prosperity. Djansi’s central argument revolves around the need for accountability and professionalism before any financial support is considered.
Djansi’s critique goes beyond the mere allocation of funds; she emphasizes the urgent need for financial transparency and adherence to professional standards within the filmmaking community. She advocates for the creation of systems that ensure responsible use of public funds, arguing that without such safeguards, any government investment would be akin to throwing money into a bottomless pit. She warns that direct funding to filmmakers without the requisite structures in place will only exacerbate existing problems and fail to address the root causes of the industry’s struggles. Her strong stance is underscored by her dramatic pledge to lead a protest of struggling mothers from Korle Bu Teaching Hospital should the government proceed with funding without addressing these fundamental concerns.
The filmmaker draws a sharp contrast between the desperate needs of vulnerable citizens and the demands of the film industry. She highlights the dire conditions faced by mothers at the Korle Bu Teaching Hospital, who struggle daily to care for their sick children, often resorting to private donations and subsistence farming to survive. Djansi argues that these pressing social welfare needs should take precedence over funding a film industry that lacks accountability and demonstrable economic impact. Her comparison serves to underscore the misplaced priorities she perceives in the government’s potential approach to supporting the arts while neglecting more fundamental social responsibilities.
Furthermore, Djansi challenges her fellow filmmakers to engage in critical self-reflection, questioning their individual contributions to the national economy. She probes whether filmmakers consistently fulfill their tax obligations, pay social security contributions for their cast and crew, and adequately insure their equipment. These questions, she argues, highlight the lack of professionalism and financial responsibility that plagues the industry, making it a risky investment for government funds. Djansi’s critique is not simply directed at the government but also serves as a call for introspection and reform within the filmmaking community itself.
Her criticism extends to the creative output of the industry, lamenting the dearth of original storytelling and the prevalence of remakes of foreign shows on local screens. She argues that this lack of originality stifles creative growth and limits the industry’s potential to connect with audiences both domestically and internationally. Djansi contends that focusing on derivative content prevents the development of authentic Ghanaian narratives that could resonate with global audiences and contribute to a vibrant cultural export market. This lack of originality, she suggests, further weakens the industry’s claim to government support.
In essence, Leila Djansi’s appeal is a multi-pronged critique of the Ghanaian film industry and its relationship with the government. She advocates for a paradigm shift, moving away from ad-hoc financial handouts towards a more strategic approach based on establishing sustainable structures, promoting financial transparency, and fostering a culture of accountability. Her passionate call for reform is grounded in a deep concern for the industry’s future and its potential to become a true economic asset and a powerful vehicle for showcasing Ghanaian stories to the world. She believes that without addressing these fundamental issues, government funding will be ineffective and potentially detrimental, diverting resources from critical social needs while failing to catalyze the growth and development of a vibrant and sustainable film industry.
