Wednesday, October 1, 2025
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Netflix & UNESCO

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announce the winners of the ‘African folktales, reimagined’ short film competition
After launching a ground-breaking competition to find some of Sub-Saharan Africa’s up and coming filmmakers, entitled ‘African Folktales, Reimagined’ Netflix and UNESCO can now announce the six winners. Each winner will receive US$25,000 plus a production budget of US$75,000 to create short films through a local production company and under the guidance of Netflix-appointed supervising producer and industry mentors from across the continent. Staying true to the competition’s aim of showcasing Africa’s rich cultural heritage, the short films will feature reimagined African folktales presented in multiple African languages.

Name Country The Mentor Project name* Language
Mr. Mohamed Echkouna Mauritania Femi Odugbemi The Enmity Djinn Hassaniya Arabic & French
Mr. Walter Mzengi Tanzania Tosh Gitonga, Katope KiSwahili & ciGogo
Ms. Korede Azeez Nigeria Jenna Bass Adieu Salut Hausa & Fulfulde (Fula)
Ms. Voline Ogutu Kenya Leila Afua Djansi Anyango and the Ogre English, KiSwahili & Luo
Ms. Gcobisa Yako South Africa Bongiwe Selane Uma Mlambo Xhosa
Mr. Loukman Ali Uganda Pape Boye Katera of the Punishment Island English & Runyankole

The final six filmmakers will now go into the development phase of their projects, before starting production on the short films that will eventually premiere on Netflix as part of ‘An Anthology of African Folktales’ later this year.
The competition was launched by Netflix and UNESCO in October 2021, with the goal of promoting diverse local stories and bringing them to the world. The competition was also a step towards creative equity – as part of the Netflix Creative Equity Fund, which aims at enabling new voices from underrepresented communities within entertainment to bring their perspectives to a global audience.
“Congratulations to the six winners! The fact that their films will be shown to a global audience is part of our commitment to promote cultural diversity around the world. Like the African movie sector itself, these six individuals have a very bright future ahead of them. The laureates, and all the participants in this competition more broadly, highlight the rich, diverse and ever-evolving culture that Sub-Saharan Africa has to offer and that UNESCO wants to promote. We cannot wait to celebrate these films at a special premier at UNESCO headquarters in Paris at the end of this year.”- Audrey Azoulay, Director-General of UNESCO.
Ben Amadasun, Netflix Director of Content in Africa said, “It’s been a truly inspiring journey for us to experience the level of creative talent from our candidates. From the thousands of applicants we’ve received to the Top 21 and finally, the 6 finalists – it’s evident that Africa is filled with amazing storytelling talent that is ready to share their different perspectives and celebrate Africa’s rich culture and heritage. Congratulations to the winners – and to emerging filmmakers who didn’t make it – we urge you to continue your passion of telling African stories. The world is ready to experience your talent and we at Netflix, will continue to be your biggest cheerleaders in this journey.”

Becam Yohannes

Name: Becam Yohannes

Education: BA Degree

Company name: Hot coffee and foods

Title: Owner

Founded in: 2019

What it does: Serves coffee and meals

HQ: around Bole Medhanialem

Number of employees: 7

Startup Capital: 300,000 birr

Current Capital: 500,000 birr

Reasons for starting the business: My passion to work and modernize the sector

Biggest perk of ownership: Quality and speed

Biggest strength: Hospitality

Biggest challenging: Finding quality materials

Plan: To build big quality and classic restaurant

First career: Public health researcher

Most interested in meeting: Prime minister Abiy Ahmed

Most admired person: Tsedey Asrat, owner of Kaldi’s coffee

Stress reducer: Long walk

Favourite past time: Time with my child

Favourite book: 100 Documents That Change The World

Favourite destination: West Wolega

Favourite automobile: Tesla

HISTORIC HOMES: A SPACE FOR FINE ART

As Addis Abeba booms with new buildings, capturing contemporary visions of a futuristic “New Flower,” what remains of 19th century architectural homes of antiquity are being reduced to rubble or questionably refurbished into less than treasured venues. The establishment of Addis Abeba in the late 1800’s was inspired by Empress Taitu’s curiosity which led to an expedition of scouts leaving Entoto Mountain for the indigenous flora and fauna with gushing rivers and healing hot springs. Not only would the Imperial House and its administration move shortly into the region, but they would begin building a bustling city between 1905 to 1925 to include Taitu Hotel, Bank of Abyssinia and Menelik Cinema amongst others. The past few years there have been many attempts to protect national heritage spaces which speak to the history and development of the capital city. However, when outcries are needed to end the destruction or mis-utilization of these spaces, artists can be found at the forefront.
On the current radar is Menelik Cinema dubbed “Seytan Bet” (House of Satan) located on Churchill Road. The famous stone building introduced film to Ethiopia in 1923, earning its alias from a society unfamiliar with strange images and tongues emanating from the screen. The mostly Orthodox agrarian society was appalled yet intrigued by the tech of the day. In the decades to follow, however, film production would not take off. Menelik Cinema would however influence the establishment of many movie theaters to date which dot every part of the city. It is this legacy, now preserved despite previous efforts to demolish the historic house for film, which is responsible for today’s trend of theaters, one of the earners in the local entertainment economy. Sadly, according to Wendwesen Kebede, Ethiopian Visual Arts Association (EVAA) Secretary GM, Menelik Cinema may yet be another missed opportunity for the arts community, city and country.
Over the past several years EVAA Sec. GM has lobbied for the use of the landmark building. Wendwesen said, “ EVAA has over 50 years as an Ethiopian association with experience in the arts. We have asked the governing bodies to give a space for art display/gallery…we requested this ancient house with full documentation on the purpose of the institution and the cinema house with detailed research, posing the question for the house to be used for traditional and/or fine art of Ethiopia. No answer has been given and rather… rented out as a woodwork factory. We are offended. Governing bodies must do more for historical and fine art and must first recognize (what it means) as a historic space with policies to support both.” As Ethiopia grapples with a hit to tourism, due to COVID and war, ironically amidst the establishment of sites to increase visitors, the arts community may need to re-think the approach to advocacy for recognition, space and support.
In a recent short article in the BBC, a small UK city has proposed a £1.2m plan to “ attract more tourists…focus(ing) on improving links between key landmarks… . Funding for work would in part come from the government’s Town Fund and £300,000 from a local philanthropist. The city has failed to attract visitor numbers relative to its abundant cultural and heritage assets.” Addis Abeba is a growing city with millions of permanent residents, wealthy business owners, expats and visitors who have disposable income and time to visit art spaces. Local venues for art are therefore crucial to develop the creative industry for visitors and locals alike. Does an alliance between the arts society and generous donors need to be forged to begin to see the needle moving within bureaucratic systems focused on building new and “better”? The 2015 Earnst and Young UNESCO commissioned report on Creative Cultural Industries revealed revenues in Africa and the Middle East are at just over $58.B employing over 2.4m people. However, in this year’s UNESCO Global Report they buttress EVAA’s position, entitled Re|Shaping Policies for Creativity – Addressing Culture as a Global Public Good, “…to address the growing challenges of the CCSs and reaffirm their key role in the resilience and regeneration of economies and societies… establish(ing) culture as a global public good which needs to be fully protected and promoted for the benefit of humanity as a whole.” In other words, we can have the best of both worlds, mercantile and cultural interests.
Ethiopian art continues to climb, with high end auction houses, international art fairs and main stream media keeping a keen eye on the slow steady rise of artists growing the industry. Interest in Ethiopian historic and iconic art also continues to peek, while local based international institutions such as Addis Fine Art Gallery, Zoma Museum and myriad artist collectives, like Kiya Tadele led YATREDA, place Ethiopia on the world map. So, what will it take for full support, recognition and/or revitalization of the fine arts, a prestigious part of Ethiopian society? As early as the 1950’s fine art was a priority leading to the establishment of the now named Ale Felege Selam School of Fine Arts. Ethiopia has a plethora of resources and historic homes which can help bridge the 19th and 21st century of Ethiopia through contemporary art, no reason for delay.

Dr. Desta Meghoo is a Jamaican born Creative Consultant, Curator and cultural promoter based in Ethiopia since 2005. She also serves as Liaison to the AU for the Ghana based, Diaspora African Forum.

Ethiopia & Senegal: World Cup Qualification hanging by a thread

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Ghana boosted their chances of clinching one of the tickets to the FIFA U20 Women’s World Cup, Costa Rica 2022 after they claimed a 3-0 win over Ethiopia in the first leg of the final round on Sunday.
A brace from Salamatu Abdulai and Cecilia Nyama’s strike in the first half was all the Black Princesses needed to silence the Ethiopians in front of the home fans at Abebe Bikila Stadium and took a giant step towards securing their qualification ticket.
It took only sixteen minutes for the visitors to wrap up the game. The breakthrough came at the 29th minute when Abdulai’s brilliant strike gave them the vital lead. Abdulai went on to double the advantage with her second of the match in the 38th minute before Nyama struck to complete the triumph just a minute from the half time break.
After a clinical first-leg triumph in Addis, the Princesses will focus on guaranteeing their qualification when they host the Ethiopians, during the reverse fixture in Cape Coast in two weeks.
Thanks to three goals from striker Flourish Sabastine this Saturday in the first leg of the last qualifying round for the FIFA U20 Women’s World Cup played at the Lat Dior stadium, the Nigerian team took a huge step closer to qualification at the expense of Senegal.
Upon receiving a through pass poorly negotiated by the Senegalese defense, hattrick hero Sebastian slipped the ball into the net for the first goal of the match for the visitors. Sebastian netted the second at the 56th minute off Mercy Idoko’s cross. Once again the hunter at her best hit her hattrick in the 62nd minute on a penalty after a Nigerian was brought down by Captain Marere Babou in the Senegalese defense.
With a huge first-leg lead in Thies, the Falconets will return home to welcome the Senegalese for the decisive second leg at the Samuel Ogbemudia Stadium, Benin City on March 26.