For over two decades, Joy Odiete has journeyed across the globe, attending prestigious film festivals from Cannes to Toronto. Despite the significant expenses involved-covering airfare, accommodation, and screening fees-she often returned to Lagos with minimal tangible business outcomes.
This recurring challenge inspired the Blue Pictures CEO to establish SIRA – The African Hub, which launched this September during the 50th Toronto International Film Festival (TIFF50). SIRA aims to facilitate screenings, networking opportunities, and industry-focused sessions with a clear objective: converting the international exposure of African films into concrete commercial transactions.
“SIRA is not about conferences or panels. It’s about commerce,” Joy Odiete emphasized in an exclusive conversation with Nollywire. “Our filmmakers need to engage directly with major studios like MGM, Apple, and Netflix to negotiate deals. It’s not enough to just present or participate; the goal is to sell.”
The SIRA lineup at TIFF50 featured six carefully curated films: ‘3 Cold Dishes’, ‘Mama Nike: Queen of Adire’, ‘Safari’, ‘Stitches’, ‘Black Pepper’, ‘Made By Design’, and ‘The Serpent’s Gift’. These selections were made with an eye toward their attractiveness to international distributors and buyers.
The timing of SIRA’s debut is particularly strategic. TIFF is set to evolve into a comprehensive film market by 2026, emphasizing distribution, acquisitions, and co-production deals. Odiete views this as a pivotal moment for African filmmakers to secure a competitive advantage.
“Nollywood productions have long been showcased at global festivals, including TIFF, but the critical question remains: did these screenings lead to actual sales or distribution agreements? Often, the answer is no,” she explained. “SIRA ensures that screenings are buyer-focused, with financial commitments tied directly to the content.”
Central to Odiete’s mission is the conviction that African filmmakers must gain a deeper understanding of their intellectual property rights and how to capitalize on them.
She cautions against one-time sales that sacrifice long-term earnings, advocating instead for exploiting multiple revenue streams such as theatrical releases, television rights, streaming platforms, and transactional video-on-demand.
“Content is a valuable asset-like prime real estate-that appreciates over time. Producers can generate income from it indefinitely, but only if they package it wisely and steer clear of unfavorable agreements,” she stated.
Therefore, SIRA is designed not as a mere festival presence or discussion forum but as a structured platform for trade, distribution, and market entry.
The inauguration of SIRA coincides with Odiete’s 20th anniversary in the film industry, a milestone she describes as both inspiring and humbling. This year also marks a personal achievement: ‘Stitches’, a film inspired by her own story and directed by Ghanaian filmmaker Shirley Frimpong-Manso, was officially selected for TIFF50.
“This is one of the highlights of my two decades in the business. It’s a testament to dreaming big and seeing those dreams materialize,” she reflected. “But I view this not as a conclusion, but as the start of a new chapter.”
Odiete insists that this new phase must be driven by Africans themselves.
“No one else will rescue us. In Nollywood, we are the architects of our own success. We must be proactive-opening doors, forging new paths, and spearheading distribution,” she affirmed.
Looking ahead, SIRA plans to extend its presence beyond TIFF50, appearing at other major international festivals and markets such as Berlin, Cannes, and the American Film Market (AFM). This expansion aims to elevate African storytelling and facilitate cross-border deals.
As TIFF commemorates its 50th year, Odiete calls on Nollywood to shift its global strategy: moving away from mere premieres and photo opportunities toward securing contracts and expanding market reach.
With SIRA, Joy Odiete is championing commerce as the cornerstone of African cinema’s global narrative.
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