The Economic Power of Women in Africa’s Creative And Media Industry

The global film and media industry is often celebrated as the beating heart of modern culture, an arena where stories transcend borders, shape identities, and fuel billion-dollar economies. Yet beneath the glamour of red carpets and box office triumphs lies a sobering truth: the power to decide which stories are told, how they are framed, and who profits from them remains overwhelmingly male. dollar economies. Yet beneath the glamour of red carpets and box office triumphs lies a sobering truth: the power to decide which stories are told, how they are framed, and who profits from them remains overwhelmingly male. ‑dollar economies. Yet beneath the glamour of red carpets and box office triumphs lies a sobering truth: the power to decide which stories are told, how they are framed, and who profits from them remains overwhelmingly male.

While women’s visibility on screen has improved, their influence behind the scenes still lags. According to the Inclusion in the Director’s Chair 2025 report, from the USC Annenberg Inclusion Initiative, women comprised only about 8.1 percent of directors on the year’s top‑grossing films, underscoring their persistent underrepresentation in this key creative leadership role.

Other industry diversity studies, such as the Celluloid Ceiling report from San Diego State University, show similarly low participation by women in roles like cinematography, where they account for roughly 7 percent of cinematographers on major films, and about 23 percent of combined key creative positions, including writers, producers, editors, and cinematographers.

These statistics expose a paradox: women may be seen, but they are not heard in the spaces where narratives are crafted and cultural meaning is forged.

This imbalance is not merely a matter of fairness but a question of power. Control over budgets, scripts, and distribution channels determines whose voices dominate global consciousness. When women are excluded from these levers of influence, entire societies lose out on perspectives that could challenge stereotypes, broaden empathy, and enrich cultural identity. The absence of women behind the camera is not just a gender issue but a democratic deficit in storytelling.

Closer to home, Africa’s creative sector is experiencing a renaissance. Demand for local content is surging, digital platforms are multiplying, and investment is flowing into film hubs from Lagos to Nairobi. Women are present in this ecosystem undertaking editing, writing, and producing, but their ascent into leadership remains constrained.

In Kenya, for example, women form a significant portion of the workforce yet remain underrepresented in commissioning, production ownership, and executive decision-making. The barriers are familiar: limited access to financing, inadequate technical training, and fewer opportunities to own intellectual property.

Yet there are sparks of change. The Kenya Film Commission’s Women‑in‑Film Incubation Programme is equipping female creatives with technical and business skills, enabling them to establish production companies and lead projects. Regional initiatives like the Realness Institute and festivals such as AFRIFF are carving out spaces for mentorship and residencies that prioritise women and underrepresented voices.

Even global streaming platforms, recognising the commercial value of diverse storytelling, are commissioning African productions with women in directing and producing roles. Case in point, Njoki Muhoho’s Zebra Production was commissioned to produce Maisha Magic Plus’s hit telenovela, Shanga, which elevated the careers of rising stars Foi Wambui, Brahim Ouma and Zazira. These interventions matter because they do more than train individuals. They shift norms, proving that women’s leadership is not an exception but a necessity.

Recognition platforms like the Women in Film Awards (WIFA) in Kenya further amplify this momentum, celebrating women across scriptwriting, editing, and executive leadership. Awards alone cannot dismantle systemic inequality, but they disrupt invisibility, reminding audiences and investors alike that women are not peripheral contributors, but central architects of culture.

The economic argument for inclusion is equally compelling. Women-led productions generate employment, nurture enterprises, and create mentoring networks for emerging talent. They diversify narratives, making content more reflective of society and more appealing to global audiences hungry for authenticity. For policymakers and investors, this is not charity but strategy. Gender inclusion aligns directly with competitiveness, export potential, and sustainable growth. Diverse teams consistently deliver richer, more commercially viable content, challenging the outdated notion that profitability and parity are mutually exclusive.

But the deeper provocation lies in the fact that whoever controls the narrative controls the future. If African film continues to be shaped predominantly by male voices, then half of society’s experiences remain underexplored, half of its creativity untapped, and half of its potential audiences underserved. The question is not whether women should be included but whether the industry can afford to exclude them.

International Women’s Month offers a symbolic moment to celebrate progress, but symbolism is insufficient. What is required is deliberate policy, sustained investment, and bold collaboration between public and private sectors. Financing models must prioritize women owned companies. Training programs must dismantle technical gatekeeping. Distribution platforms must commit to commissioning women-led projects not as token gestures but as long-term strategies. Training programs must dismantle technical gatekeeping. Distribution platforms must commit to commissioning women-led projects not as token gestures but as long-term strategies.

The provocation, then, is simple yet profound: imagine an Africa where women not only appear on screen but command the lens, the script, and the budget. That is not just a dream for women but a future for all of us.

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Margaret Mathore is the Head of Channels at MultiChoice, a CANAL+ Company.