Idris Elba is a big landscape thinker. In this article on Screen Daily, he discusses his intent on creating the “African Odeon’.
It’s a wide-ranging discussion about filmmaking, distribution infrastructure and film finance in Africa.
“How do I do that? Building a model of data that shows that actually people do want to watch films, that they will enjoy the experience of theatre. I’m not going to try and boil the ocean, but it’s going to happen one bit at a time. The data is one thing, building the strength of the economy around the creators is one thing, and the distribution of it. Yeah man, I want to build the African Odeon.”
What are your thoughts about Idris’ desire to build the African Odeon? Are you an African filmmaker? What is your experience of film distribution on the continent? Are you a filmmaker outside of Africa? What is your experience of film distribution, on the continent?
https://www.screendaily.com/news/i-want-to-build-the-african-odeon-idris...
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Idris' vision to build the African Odeon is not just inspiring it’s essential. As a screenwriter from Kenya Africa currently developing a sci-fi feature film called Broken Origin, I’ve seen how difficult it can be to bring stories to life due to limited infrastructure and access. There’s so much untapped potential in African storytelling, and building an ecosystem that supports creators, from production to distribution, could truly redefine the place in global cinema. I’d love to see initiatives like this grow and connect filmmakers across the continent.
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I think it's great that Idris wants to build the African Odeon, Geoff Hall! And I think it's great that he co-founded a company with a focus on driving innovation and production in Africa and that the company created the Akuna Wallet! I've never written a script that takes place in African, but I'd like to.
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I love this Geoff Hall.
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Briton Briton thanks for your comment, Nyongesa. For you in Kenya, is it a case of finding independent cinemas to show your films, or does four-walling exist in your country; where your production company could hire out a cinema and the agreement could state that you get the box-office and the cinema keeps the income from concessions (popcorn, sodas etc)?
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Debbie Elicksen thank you Debbie!
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Maurice Vaughan Perhaps you could form a writing partnership with an African screenwriter, Maurice, to make that dream a reality?
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Great idea, Geoff Hall! I didn't even think of that. Thanks for the idea.
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Hello Geoff Hall In Kenya, the setup is quite different. There currently aren’t any production companies that can handle heavy VFX or animation-based scenes most focus primarily on drama series designed for local television.
When I approached a few companies for support on my sci-fi project, they told me they lacked both the equipment finance and expertise to manage large-scale effects or animated sequences. This creates a big gap for creators exploring genres outside the mainstream.
Regarding distribution, the traditional box office model isn’t really viable here. Most filmmakers rely heavily on streaming platforms Netflix is particularly influential and well-rooted in the local market. Cinemas are rare and mainly screen international blockbusters. Independent screenings are possible, but without the support of four-walling or reliable theater partnerships, it’s very limited.
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Hi Maurice Vaughan .
I saw your interest in writing a script set in Africa. My current sci-fi feature has a global setting, but I’m developing it as a Kenyan screenwriter. If you're open to picking a project from Africa I'll be glad to connect.
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Hi, Briton Briton. I'm working on five projects and I have projects lined up, but I'm looking forward to collaborating with you in the future on a project!
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Geoff Hall and Briton Briton What if African Odeon cinemas launched inside airports and theme parks? High traffic, emotional engagement, and built-in infrastructure make them perfect spaces to spotlight African stories—and turn local films into global experiences.
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Briton Briton thanks for your reply, Nyongesa. Well, I suppose 'equipment finance and expertise' nowadays there's the potential for international co-productions to take advantage of tax incentives and cash refunds. It may be there that you find your expertise and finance for VFX?
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Dwayne Williams 2 airports may not work because of the fast flow-through of people trying to get to their flights, but I could imagine cinemas in theme parks, as the visitors are highly focused on entertainment at that location.
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That makes sense, Geoff Hall—traditional sit-down cinemas in airports definitely have challenges. But what do you think about lighter-touch ideas, like in-flight African films tailored to each country, or short film loops and digital posters in lounges or waiting areas? Especially in airports where delays or long layovers aren’t uncommon, it could be a subtle way to spotlight African cinema without needing a full theater setup. Would love to hear your take.
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Interesting discussion, so I read the Article, and I want to wish Idris Elba the best of luck on his African Odeon.
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Taking one look at Nigerian independent cinema, it's crazy that Idris is the only star trying to lead this charge. There are so many film makers out there creating incredible work with next to no resources, literally creating their own cannon. Whoever sets up production and distribution infrastructure for African cinema is going to be at the forefront of one of the biggest upcoming movements in the medium. Global reception of African film is a matter of "when" not "if."
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Dwayne Williams 2 digital video posters are something we are looking into at the moment, Dwayne, and a great eye-catcher for film lovers in airports. I’m not sure about films tailored to individual countries. In my mind I always think of cinema as a universal medium, so I’m not sure how that would work. But…
Perhaps you could have a cinema app for use in an airport, that gave you access to ‘local’ films, on a passenger’s mobile devices?
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Thanks, Geoff Hall—just to clarify, I meant something simpler: adding African films with English subtitles to in-flight entertainment menus, like in the image I’ve attached.
Not country-specific, just more visibility for African cinema during flights when people are most open to discovering new stories. Do you think this could be explored with festivals or distributors?
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Dwayne Williams 2 hi Dwayne, thanks for the clarification. In-flight films, yes. That seems to me to be about distribution failings, as contracts can be negotiated with airline companies. Perhaps producers ought to be more proactive when planning their distribution needs for their film, and impressing that with the distribution companies? Just a thought. Such strategies with films can create a long tail of income.
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David Michael Kelly thanks David. Agreed.
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Antonio Antunes Alexandre Hi Antonio, I am Geoff, a Stage32 Lounge Moderator and on the site we have a protocol about not highjacking someone else’s thread with what should be your own post.
Please post this in the Anything Goes lounge, as you will attract more interest there, than with this post about Idris Elba and the African Odeon. Cheers, Geoff
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Hey Geoff Hall, just wanted to add one more angle to this conversation—trains. In many African countries, train rides and daily commutes are long, especially between rural hubs and city centers. That’s a huge opportunity for entertainment.
Imagine if African cinema—short films, animations, even docu-stories—were integrated into onboard entertainment. Either through screens or Wi-Fi-based streaming systems. It wouldn’t just pass the time, it would build national pride, grow cultural awareness, and turn idle hours into discovery moments.
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Dwayne Williams 2 yeah, that’s a good idea Dwayne. In the UK you couldn’t have entertainment at your seat, like in the long haul flights, but yes, a streaming service would be a cool alternative.
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I think the challenge in Africa is pretty clear — people want to go to the cinema. But the big issue is cost. If Idris Elba’s vision becomes something that’s for the creators, not just another business venture, it could really work.
Just like YouTube — when you give creatives the space, they’ll hustle to bring the audience. It becomes an experience. And when you serve the audience well, the business side will grow naturally.
But if it’s just built like a corporate machine, it might make money at first… then slowly fade into a “big project with no soul.”
That’s why I’m hopeful — Elba seems genuinely passionate and hungry to build something real in Africa. And that makes me want to believe this can work.