By Benjamin Nii Nai Anyetei
The premiere of The Eyes of Ghana at the National Theatre of Ghana has been hailed as a major cultural moment, drawing filmmakers, students, theatre lovers, historians, creatives and members of the public to witness a powerful retelling of Ghana’s historical and cinematic legacy.
The production, directed by Oscar-winning filmmaker Ben Proudfoot, forms part of broader efforts to promote local theatre and create platforms for creatives to showcase their work. The successful staging reinforced the importance of the arts not only as entertainment but also as a tool for preserving culture and fostering national dialogue.
The auditorium was filled with a diverse audience, who responded with excitement and reflection as the documentary bridged Ghana’s independence era with contemporary conversations on identity, memory and storytelling through film. Many praised the production for its emotional depth, historical relevance and vibrant storytelling, which highlighted the richness of Ghanaian traditions and artistic talent.
At the centre of the documentary is veteran Ghanaian cinematographer Chris Hesse, who served as the personal cameraman to Ghana’s first president, Dr Kwame Nkrumah, during the 1950s and 1960s. The film documents how Hesse captured key national milestones, including state visits, political rallies, diplomatic engagements and independence-era events, offering a rare visual archive of Ghana’s formative years. He is portrayed not merely as a cameraman but as a silent witness to some of the most defining moments in African political history.
A striking emotional moment in the documentary shows Hesse, now in his 90s, undergoing an eye examination and being told that he may eventually lose his sight. This symbolic opening sets the tone for a story about memory, vision and the urgent preservation of history.
The film also revisits Nkrumah’s belief that cinema could serve as a nation-building tool capable of shaping identity, educating citizens and projecting African narratives globally. One notable revelation is the close working relationship between Nkrumah and Hesse, including their use of silent signals during official events to guide camera framing.
Another central theme of the documentary is Hesse’s mission to have his historic footage restored and eventually screened in Ghana. He is joined in that effort by former student and filmmaker Anita Afonu, who becomes his ally in the quest to recover and digitise the endangered archives.
Through their on-camera interviews, their passion and reverence for cinema are evident, making the film a touching tribute to the power of the art form and the people behind it.
Producer Nana Adwoa Frimpong said the project was inspired by a desire to reconnect Africans with their own stories and preserve important moments at risk of being lost through neglect. She urged Ghanaians and Africans more broadly to value the stories within their own homes, communities and countries.
Ben Proudfoot revealed that he first met Hesse when the veteran filmmaker was 90 years old, after Ghanaian journalist Justice Baidoo introduced them while Proudfoot was in Ghana shooting a film for UNICEF. During that meeting, Hesse told Proudfoot about his secret archive of more than 1,000 films and appealed for help to digitise them.
Originally envisioning a short documentary on Hesse, Proudfoot later consulted Ugandan filmmaker Moses Bwayo, known for Bobi Wine: The People’s President, who encouraged him to expand the concept into a feature-length production.
Director Ben Proudfoot expressed hope that The Eyes of Ghana would be screened in schools across the country free of charge so students can learn directly from Ghana’s visual history and better appreciate the nation’s political and cultural journey.
Anita Afonu also paid tribute to Edmond Addo of Rex Cinema, describing him as a symbol of Ghana’s once-thriving communal cinema culture and a custodian of film heritage whose dedication has helped keep the spirit of public cinema alive in Accra.
Audience members applauded the film’s emotional storytelling and cultural significance, describing it as both a tribute to Ghana’s cinematic pioneers and a reminder of the fragility of archival heritage.
The event ended with renewed calls for government institutions, cultural agencies and private stakeholders to support the digitisation and restoration of Ghana’s early film archives for educational and public access.
The 90-minute documentary is a production of Breakwater Studios and Higher Ground Productions. Producers include Ben Proudfoot, Nana Adwoa Frimpong, Anita Afonu, Moses Bwayo, Brandon Somerhalder, Ethan Lewis and Vinnie Malhotra. Executive producers include Barack Obama and Michelle Obama.
More than a documentary, The Eyes of Ghana stands as a powerful reminder that Ghana’s history is not only preserved in books but also in fragile visual archives that urgently require protection, digitisation and access for future generations.
