Meet Sahndra Fon Dufe, the visionary founder of African Pictures International and Black Film Wire, who’s revolutionizing how African narratives are shared with global audiences.
With a journey that began in 2010 acting in “Two Princes,” a Cameroonian film, Sahndra recognized a crucial gap in the industry – authentic African storytelling that wasn’t diluted or seasoned with stereotypes.
In our latest interview, Sahndra shares her fascinating journey of combining filmmaking and writing, describing how her keen eye for detail enriches both crafts.
Read the full interview below and discover how Sahndra is transforming the landscape of African cinema and storytelling.
As the founder of both African Pictures International and Black Film Wire— what made you realize the urgent need for dedicated platforms showcasing Black and African narratives in global cinema?
When I first stepped into the industry in 2010, acting in my very first Cameroonian film “Two Princes”, and eventually moving to Los Angeles in 2011, / quickly realized something was missing—our (African) stories.
And when they did show up, they felt… diluted, like someone had taken an African tale, boiled it in lukewarm water, and added a pinch of stereotypes for seasoning. It was tragic. By 2012, / decided enough was enough and registered African Pictures International to house my passion project “Yefon”, which started as a feature film idea, morphed into a book series, and is now a full-on storytelling hub. Fast forward to 2024, we’ve evolved into a company that tells Black stories cinematically, and editorially, provides select PR and author services, media training for HN/s, with over 10 clients in just over a year—by the grace of God.
Then there’s Black Film Wire, the baby of the family, launched in December 2024 because, apparently, / don’t sleep. LOL. It’s our contribution to amplifying voices often drowned out by Hollywood’s obsession; with sequels and remakes. We’re here to shine a light on Black and African narratives, unapologetically and authentically.
The goal? To stick around, shake things up, and, of course, become an industry giant, by HIS Grace. We’re very very passionate about the creative industry and focused on contributing to it, in a way that pleases God.
How does your experience as a filmmaker influence your approach to writing, and vice versa?
Life and filmmaking—have taught me the magic of seeing. Seriously, the random things you catch on a bus ride as a kid in Cameroon could fuel an entire Netflix series. That kind of visual awareness sneaks into everything I write. I’m always thinking about how a scene will look on-screen, how the actor will interpret it, and maybe even what the fly on the wall is doing (true story, my friend once said, “Sahndra will tell you a story and include what the fly was plotting.” It’s not wrong).
This obsessive attention to detail—let’s call it cinematic flair-means I write with the big picture in mind. But writing does me one better—it forces me to dig deep into character arcs and narrative twists, which then makes my filmmaking juicier. They’re like two best friends hyping each other up.
Honestly, I just love this stuff, and I pray audiences will, too. By God’s grace, maybe my work will start some conversations or at least make you notice what the fly is up to.
What shifts have you observed in how international audiences engage with African narratives through your unique experience?
Just today, Children of Blood and Bone announced its new star-studded cast (and yes, we covered it over at the Wire, because of course we did). The other day, it was Idris announcing he will play the iconic role of Okonkwo in Chinua Achebe’s “Things Fall Apart.” One thing I said there-and I’ll say it again here—is that this film has the potential to redefine fantasy, ushering in an era where African-inspired stories don’t just take center stage but completely steal the show. It’s what l’ve always believed, even as a kid: the stories we tell, the ones rooted in who we are, have always had this universal power. The world is finally catching on.
The global appetite for African narratives has grown massively, fueled by platforms like Netflix and movements like #BlackLivesMatter, and Ghana’s “Year of the return,” that are putting a spotlight on diverse perspectives. And here’s the kicker-audiences don’t want the tired “safari and sunsets” Africa anymore.They’re hungry for authenticity-the gritty, joyful, layered realities of our lives. Films like The Woman King and series like Queen Sono are flipping the script, proving that our stories can be unapologetically Africal and still connect with the whole world.
It’s like what Rapman’s Supacell did for superheroes: taking the genre and flipping it on its head with a fresh, bold, and unapologetically Black perspective. That’s the energy we’re bringing to fantasy, cinema, everything.
Honestly, l’ve been seeing life this way since I was a kid-when no one else seemed to see the magic in our everyday stories. Now? The rest of the world is finally catching up, and we’re for it- and ready to actively contribute to its legacy.
How do you navigate the balance between preserving authentic African storytelling elements while making these stories accessible to global audiences?
Balancing authenticity and global accessibility is like making a really good pot of soup—it takes the right ingredients, a lot of restraint, and some tough decisions about what gets left out. Authenticity is non-negotiable. Like Chinua Achebe famously said, “Until the lions have their own historians, the history of the hunt will always glorify the hunter.” And you see, even when the lions finally get that pen, they have to know what to remove from the story. Editing? It’s mad restraint.
Think of it like this: not every piece of stockfish or bony meat belongs in the soup. Some of it has to go-for the good of the story. Even that meat you love? Sometimes it has to leave the pot. That’s where patience comes in. The heart of the story, the seasoning (language, culture, setting)—that has to stay. But all the unnecessary bits? Bye-bye.
Then comes the good editorial team, AKA your kitchen crew, who will tell you exactly what’s weighing the soup down. And when you get it right, oh, the story will not only feed you—it’ll nourish everyone who comes to the table. So, we keep the flavor, but we also make sure the soup (or story) is one that everyone can enjoy.
Universal themes like love, resilience, and identity?
Those are the delicious, meaty parts that resonate everywhere. It’s all about the balance, and honestly, it’s a practice.
But when you get it right? Chef’s kiss.
Your work spans multiple creative disciplines— How do these different mediums complement each other in your mission to amplify Black and African voices?
For years, people told me I needed to find a niche, and let me tell you, their voices haunted me. “Why can’t you just pick one thing? Be a novelist like Adichie! Or stick to TV like Shonda!” they said. And honestly, I started questioning myself. God, why did You pack all these interests into one person? Law, acting, writing (across ALL the genres), teaching kids, PR, business—like, was there a clearance sale on career paths, and / just couldn’t help myself? Meanwhile, other people seemed so happy and successful doing just one thing. I was over here, juggling 17 hats, wondering if I was doomed to a life of career chaos.
But now, at 35, l’ve finally made peace with it: / am who / am. I’m not a single dish; I’m a whole multi-course meal, baby. Each “course” complements the other, and together, they make my storytelling richer. Film lets me create these immersive visual worlds, writing helps me dive deep into the emotional heart of a story, and Black Film Wire is where I amplify the brilliance of others.
My law background taught me to advocate (read: negotiate) for what’s fair. PR? That showed me how to package and sell our narratives to the world. And business? Well, that’s where I learned to keep everyone’s interests in mind.
Together, all these “random” paths have shaped a holistic approach to storytelling. I’m building a mosaic of African narratives, and each piece-whether it’s a book, a film, or an editorial feature adds something meaningful to the bigger picture.
So, I’m not a mess of interests. I’m a perfectly balanced buffet. And trust me, there’s room at the table for everyone.
What unique challenges have you encountered in building bridges between African storytellers and international platforms?
Let me start by saying this: my experiences (in this way) are not unique. In fact, l’d bet money that every African storyteller trying to cross the international bridge has faced the same tired hurdles. First up, stereotypes. For years, many international platforms have viewed African stories through a very narrow lens. You know the one: huts, safaris, drums playing in the distance, some lion roaring in the background. That lens is slowly cracking, but trust me, we still have to fight to prove that our stories are both commercially viable and artistically groundbreaking. Yes, our
narratives can do more than win Oscars for “Best Exotic Something-or-Other.”
And then there’s funding. Oh, funding. Western creators out here are swimming in million-dollar budgets and shiny studios, while we’re over here MacGyver-ing miracles out of pocket change and a prayer. Honestly, the creative genius of African filmmakers deserves an award just for existing under these circumstances. Part of my job-whether through my businesses or my work as Outreach Director for the Silicon Valley African Film Festival-is to be that bridge. Advocate, educate, connect, and occasionally remind people, “Hey, we’re not a monolith. Were a continent full of brilliance. Get with the program.”
In my creative businesses, this mission is baked into our daily operations. guide our writers to create work that resonates globally and train their editorial taste buds to appreciate what works on the world stage. Think of it like teaching someone to upgrade from fast food to a Michelin-starred meal—it’s a process, but the end result is worth it.
And while the work has only just begun, I hope that in ten years, when we look back, the bridge we’ve built will be strong, sturdy, and impossible to ignore. Until then, well keep hustling, one step (and one stereotype) at a time.
How has Black Film Wire evolved to address the changing landscape of representation in film?
Black Film Wire started as my little passion project-basically me screaming into the void about Black excellence in cinema while freelancing for other platforms. But now? Now, we’re growing into the go-to resource for celebrating Black voices in film. Think of it as leveling up from shouting in a megaphone to running a full-blown news desk with receipts, interviews, and critiques. We’re not just about shoutin! “Yay, representation!” anymore. Oh no, we’ve taken it further. Now we’re pulling up chairs to the executive tables and asking, “Cool, but where are the Black producers? The execs? The decision-makers?”
Our mission is as much about raising the bar behind the scenes as it is about what’s on-screen. Sure, we’re still spotlighting great work, but we’re also asking the tough questions: Why does this feel like it was shot on a Nokia 3310? Why are the female characters written as props? Who thought this editing choice was okay? We’re here to critique, celebrate, and raise the standard for African filmmaking because if we don’t, who will?
We’re also playing it smart with a phased approach to world domination—/ mean, progress. Without spilling all the tea about our plans, I’ll just say this: we’re evolving into a platform that does more than clap for representation.
We’re here to foster conversations about equity, creativity, and what it takes to keep the momentum going. And like I said before, check back in ten years. By God’s grace, we’ll have receipts for days.
What would you say has been your most transformative project to date, and Why?
Oh, where do / even begin? Every project l’ve done has left its mark-some transformative, some hilarious, and some downright traumatizing (in the best way, of course). From touring schools across Cameroon years ago and meeting over 100,000 students to launching Black Film Wire just last year, I have enough stories to fill a bookshelf. And trust me, those stories are coming-at the right time, as God decides. But if I had to pick just one, it would be Yefon.
This was my debut story, and honestly, it’s my baby. It’s not just a narrative; it’s my heart poured onto pages. / pulled inspiration straight from my roots-names, characters, places from my village, and even our matriarchal founder (yes, / went there). But it wasn’t just about showcasing my culture. It was my first chance to combine storytelling with my passion for advocating for women’s empowerment. The response?
Overwhelming. Young African women wrote to me about how the story resonated with them, and / realized that authentic representation truly has the power to inspire.
Yefon was a turning point. It showed me that storytelling can be a vehicle for change. And while the book was just the beginning, I’m patiently waiting for God’s perfect timing to turn it into a film—a legacy project I hope will impact generations to come. Here is Yefon on Amazon
As a female leader in the film industry, how have you worked to create opportunities for other women in African cinema, both behind and in front of the Camera?
Oh, where do I even begin with this one? Let me just say-being a woman in the film industry is a sport, okay? And not the fun, “let’s play for an hour and go home” kind. It’s the “endurance marathon with surprise hurdles” kind. But God gives us strength, and we move.
First off, mentorship and collaboration are my love languages. I’m deliberate about ensuring my projects have diverse crews, with women represented at every level-yes, even grips, because equality doesn’t stop at the director’s chair. And while I just finished writing my first film with a male lead (really excited for this story, BTW & more to come), I’m always (generally) advocating for female-led stories and overall, for good stories. Representation on screen begins with representation behind the scenes.
Through platforms like Black Film Wire, we highlight female filmmakers and amplify their voices. But my vision goes beyond just making space for women; it’s about changing the culture of the industry itself. Listen, we all know what the creative world used to be (and in some corners still is)—an exhausting jungle of “pre-Me Too” nonsense. As far as I’m concerned, we’re here to rewrite that narrative. My goal? Create a Godly, safe, harassment-free space where young African writers can thrive and actually earn a living from their gifts. No shenanigans. Just talent, respect, and growth.
Right now, we’ve been running a writing fellowship program with a few young writers and have an editorial team full of brilliant creatives from across the continent. Is it perfect? Not yet. But it’s progress, and for that, I’m grateful.
Give us ten years, and by God’s grace, we’ll look back and see a legacy that truly raised the bar.
What advice would you give to emerging African creators about maintaining their authentic voice while building international collaborations?
First off, let me just say this: we’re in a time where the world glamorizes immorality and denigrates Godly values. But let me tell you something-there is nothing out there. Nothing. Zero. Nada. Jesus, is everything.
So if you’re an emerging creative reading this, please hear me: stay rooted in the one who created you. That’s where your inspiration, your vision, and your strength will come from. Period.
Now for the advice. Haha, okay, listen to me—and hold your ear-LOL! Your authenticity is your superpower. Don’t let anyone convince you otherwise. The story God gave YOU to tell? It’s already enough. You don’t need to dilute it, sugarcoat it, or remix it for someone else’s approval.
Now, that doesn’t mean you can’t learn from others or adapt to new perspectives. Collaboration is about finding common ground, not abandoning your roots. Stay true to your core, but make space for growth. It’s a balancing act, but you’ve got this.
And if you think for one second that the world isn’t ready for your voice, let me stop you right there. The world is more than ready. It’s starving for it! So go ahead, step out boldly. Be great, be kind, be absolutely irreplaceable.
Above all, be you within the Lens God has shown you. God’s got your back. Always.
