Leila Djansi
Ghanaian-American filmmaker, Leila Djansi, has commented on the recently announced Producer Licence by the National Film Authority (NFA).
She describes it as a regressive move that goes back to what she calls the “Opera Square era,” a time that contributed to the collapse of the country’s film industry.
The NFA announced that starting May 1, 2025, all films and videos shown to the public in Ghana must be classified by the NFA and made by licenced producers.
But Leila Djansi in an interview with NEWS-ONE said, “It’s giving Opera Square era, honestly. That same era ruined the industry because it wasn’t equipped to compete with the fluidity of global cinema and evolving technology. There was no global mindset.”
Known for her internationally acclaimed films distributed on platforms like Netflix, AMC, and Fandango, Ms. Djansi didn’t hold back in her critique of the new directive.
“Maybe they need money to run the department, but there are more sustainable ways. In every country I’ve worked in whether it’s the U.S., Canada, DR or South Africa, there is no such thing as a producer’s licence issued by a national body. There are unions, there are guilds and they are not even mandatory, but never a preconditioned licence. That’s not how you build capacity. That’s how you create barriers. Again, archaic, outdated and outlandish Opera Square vibes. It doesn’t only disenfranchise the guilds, it completely crumbles any idea of structure, checks, and balances. These guilds need to be dissolved, reformed and then reprogrammed to work.”
Rather than imposing this unusual licence, Ms. Djansi advocates for a more effective approach.
“If revenue and regulation are the goals, permitting at a regional or even district level works better. It also encourages filmmaking at regional and district levels. People will feel included, and it gives you tangible data for advocacy. Lagos is doing this. California, South Africa etc. Ghana doesn’t need a licence. It needs structure. When you have clear proof of industry activity, you can go to the government and advocate for real support whether that’s infrastructure, tax breaks, or training,” she said.
Film Rating
She also challenged the current emphasis on film ratings as part of the policy conversation.
“Film ratings are not universally required. My films have screened on AMC Networks and Netflix even on American TV without ratings. AMC theatres, one of the biggest exhibitors in the U.S. show unrated indie films. Ratings are mainly relevant for national television not for theatrical or digital distribution. Making it mandatory shows a fundamental misunderstanding of how modern distribution works. It’s up to the distributor to decide whether ratings are part of their delivery requirements,” she explained.
In her final assessment, Ms. Djansi hopes the plan, unorthodox as it is, works out.
“It feels like they’re chasing low-hanging fruit. Which is sad because generating revenue isn’t that complex. I hope it works out for them. Not because it’s the right solution, but because the space has become so fragile, even necessary critique is taken as an attack. But the truth is, you can’t keep circling the same tree. At some point, someone has to say: we are lost, this isn’t it. The global film industry is always pivoting, you should move with it if you want those investments,” she added.
Ms. Djansi is a Ghanaian-American filmmaker known for her emotionally resonant and socially driven stories. Her films feature acclaimed talents such as Kimberly Elise (Ties That Bind), Grammy winner Macy Gray (Where Children Play), and Oscar-nominated actor Bruce Davison (37, A Final Promise). She is committed to amplifying African narratives on the global stage and mentoring the next generation of filmmakers across the continent. Her most recent mentorship work was with the UNESCO-Netflix African Folktales Reimagined initiative, where she guided emerging filmmakers in adapting indigenous stories for international audiences.”