Ben Proudfoot, a two-time Oscar winner, returned to Canada to debut his latest documentary, “The Eyes of Ghana.” This powerful film delves into Ghana’s hidden cinematic history and tells the story of 93-year-old filmmaker Chris Hesse, who has dedicated his life to preserving that legacy.
Hesse, who once served as the personal cinematographer for Kwame Nkrumah—the first president of Ghana and a significant figure in Africa’s independence movement—captured critical moments in Ghana’s history on film. Unfortunately, much of that footage was ordered to be destroyed amid political unrest. Nevertheless, the negatives were safely preserved in a secret archive in London, and since then, Hesse has tirelessly worked to rescue and repatriate this invaluable collection.
Proudfoot describes the film as “a love letter celebrating the impact of cinema.” His goal was to craft a documentary that focuses on historical events and introduces audiences to a lesser-known chapter of history, emphasising the importance of preserving such legacies. Proudfoot notes that “The Eyes of Ghana” is not intended to be a strictly historical documentary but aims to engage viewers with affection and passion for cinema.
Central to the documentary is the relationship between Hesse and a younger Ghanaian filmmaker, Anita Afonu. Afonu gained recognition 2013 for her short film, “Perished Diamonds,” which chronicled the decline of Ghanaian cinema and its film archives. She has since joined Hesse in his preservation efforts.
Reflecting on her experience, Afonu expresses her gratitude for the opportunity to access the archive. “Having gone through four years of film school, I had never encountered these films before,” she shares. “Access to this material is vital for us as filmmakers in Ghana; we need to draw inspiration from our cinematic past.”
After the film’s premiere, Afonu described her relief and privilege in seeing the audience’s response. Proudfoot, equally emotional, shared how significant it felt to open the festival in front of his mother and his community.
As filmmakers, Proudfoot and Afonu confront the layers of storytelling in their work, particularly given the documentary’s meta nature—a film about filmmakers, featuring Hesse’s journey in film preservation. Proudfoot emphasises the importance of supporting one another in the filmmaking community, especially when considering the future of cinema. “It’s essential that we invest time and resources to ensure the films Chris Hesse protects and preserves continue to exist,” he asserts.
The film includes only 15 minutes of archival footage, yet over 300 hours remain unseen. Hesse has fought for decades to have this footage digitised, and the proceeds from “The Eyes of Ghana” will support that mission. Proudfoot highlights the film’s purpose: “As documentary filmmakers, we aim to elevate important missions, and the archive material is just the tip of the iceberg.” He expresses deep gratitude to the collaborators at Higher Ground Productions, including the Obamas, for prioritising the digitisation of these important films.
“The Eyes of Ghana” ultimately stands as a documentary and as a rallying cry for filmmakers to honour their past and protect their cinematic heritage for future generations.
