Once created as eye-catching advertisements for makeshift neighbourhood cinemas, Ghana’s vividly painted movie posters have emerged as sought-after works of art, attracting collectors and film enthusiasts from across the world while helping preserve an unusual chapter of the country’s cultural history. What began as a practical marketing tool for local video clubs has evolved into an internationally recognised art form, with artists continuing to reinterpret famous films in bold and imaginative ways.
For veteran poster artist Jeaurs Affutu, popularly known as Heavy J, the essence of the craft has never been about accurately recreating scenes from a movie. Instead, the goal has always been to capture attention. Working from his home near Accra, Heavy J recently painted a poster for Disney’s The Little Mermaid, yet his artwork included a blood-stained knife, a skull and dramatic imagery that never appeared in the original animated film. According to the artist, such additions are intentional, designed to spark curiosity and persuade audiences to watch the movie.
Hand-painted film posters flourished across Ghana from the late 1970s until the early 2000s, when travelling video clubs became a popular source of entertainment. Organisers discovered that the printed promotional material supplied with films often failed to appeal to local audiences. In response, they commissioned local painters to produce colourful posters on recycled flour sacks, using exaggerated characters, fantasy-inspired scenes and dramatic action to entice viewers. Artists frequently exercised complete creative freedom, treating the film’s storyline merely as inspiration rather than a strict guide.
Competition among painters encouraged increasingly elaborate interpretations, with every artist attempting to produce the most striking and memorable version of a film. While these sensational depictions succeeded in attracting crowds, they occasionally created confusion among viewers who expected the exaggerated scenes to appear in the films themselves. Some audiences reportedly expressed their disappointment after screenings, and there were even instances where promotional workers faced angry reactions for advertisements that bore little resemblance to the actual movies.
The tradition began to fade around the turn of the century as electricity became more widely available across Ghana and households increasingly purchased televisions and video players. With fewer people depending on community video clubs for entertainment, many of these businesses shut down, leaving poster painters to seek alternative sources of income. However, during this period the posters themselves began attracting attention beyond Ghana. Art collectors, museums and galleries recognised their originality, leading to exhibitions abroad and growing appreciation for the works as examples of African popular culture.
In recent years, demand for newly commissioned posters has risen again, largely fuelled by online platforms and international buyers. Much of this revival has been supported by Deadly Prey Gallery, an organisation established in 2012 by American collector Brian Chankin and Ghanaian art promoter Robert Kofi. The gallery works directly with Ghanaian artists, connecting them with overseas collectors while helping sustain the traditional style of poster painting. Orders are received mainly from the United States, where enthusiasts seek unique interpretations of cult classics, science fiction, horror and action films. Custom-made paintings often begin at around $600, with prices increasing depending on the artwork’s size and complexity.
Artists continue to paint posters for films ranging from The Exorcist and Star Wars to more unconventional cinema, relying on imagination instead of realism. According to experts, this approach reflects a long-standing African artistic tradition that values symbolic storytelling and visual interpretation over literal representation. The posters are intended to communicate excitement and emotion rather than reproduce exact scenes from the films.
Cultural scholars believe the paintings represent far more than promotional material. They capture an era when local creativity transformed imported cinema into something uniquely Ghanaian, blending global entertainment with indigenous artistic expression. For those preserving the tradition today, the posters serve as both historical documents and living artworks that continue to evolve with each new commission.
With exhibitions, collectors and online audiences showing renewed enthusiasm for the colourful creations, Ghana’s iconic hand-painted movie posters are enjoying a remarkable revival. For the artists who continue the practice, the growing international recognition offers not only financial opportunities but also reassurance that a distinctive cultural heritage, once at risk of disappearing, will remain alive for future generations.
