Stephanie Tum Dissects CAMIFF’s Flaws, Proposes Urgent Reform

By Marie N Carnu

Renowned actor and producer Stephanie Tum has delivered what many have hailed as a seasoned critique of the Cameroon International Film Festival (CAMIFF), proposing a complete overhaul of the event to ensure sustainability, inclusivity, and greater impact.

Among her numerous proposals, delivered in a statement shared on Facebook on Monday, May 4, is that CAMIFF should be run as an institution rather than a one-man initiative centered around its founder and promoter, Prince Agbor Gilbert.

Her stark critique came after Agbor Gilbert expressed exhaustion and challenges in single-handedly organizing the festival for 10 years, with limited collaboration from the country’s top filmmakers and actors, as well as a chronic lack of funding.

Mrs Tum, who attended seven editions of the yearly festival before stepping back in recent years, lauded CAMIFF as an ingenious initiative whose potential to upgrade Cameroonian cinema cannot be overemphasized.

However, she identified several structural and managerial lapses, arguing that the festival suffers from a lack of transparency, insufficient innovation, and an overreliance on a personality cult built around Agbor Gilbert.

As a result, she noted, many filmmakers and film lovers in the country feel alienated.

Her observations are far from abstract; past editions of CAMIFF have been quietly boycotted by some of the nation’s biggest names in the movie sector, including multiple award-winning producer Kang Quintus, celebrated veteran actor Alenne Menget, renowned actress-producer Syndy Emade, and Stephanie Tum herself. .

Moreover, the film community in the French-speaking part of the country has visibly snubbed invitations to attend the festival, according to Agbor Gilbert, who recently organised the festival’s tenth edition.

10th Edition: A Celebration Masking Exhaustion

That tenth edition, which ran from April 20—25, 2026, in Buea, initially drew celebration, as it brought together filmmakers from Nigeria and beyond—including the presence of Hollywood actor Blair Underwood, which boosted CAMIFF’s international visibility.

Yet shortly after the closing ceremony, Agbor Gilbert took to social media with an emotional message, describing the burden of organizing the festival almost single-handedly.

“I am not ashamed to say that this festival is too expensive for me to manage alone,” he wrote.

He also lamented operating within Cameroon’s socio-cultural landscape, noting the difficulties of being an Anglophone in a Francophone-majority country and expressing disappointment over the lack of participation from French-speaking filmmakers.

“Once again we invited FRANCOPHONES and once again FRANCOPHONE filmmakers rejected our invitation,” he stated, warning that the industry is “dying” due to the absence of effective distribution and monetization systems.

Transcending From a Personality to Institution-driven CAMIFF

Stephanie Tum’s statement came as a response to Gilbert’s outing and it has since resonated widely across the film community.

While acknowledging Agbor’s efforts, she redirected the conversation toward leadership, structure, and accountability.

Drawing from her personal experience as a long-time supporter, she revealed that she had often covered her own expenses without institutional support and had sometimes felt disrespected despite her commitment.

She said passion alone is no longer sufficient to sustain a festival of this scale, arguing that the core issue lies in the lack of structure and openness to change.

“This is not sustainability,” she wrote, “this is survival at a cost that is too high.”

She outlined an urgent need for CAMIFF to transition from a personality-driven initiative to an institution-led platform. She called for the establishment of a functional governing board, delegation of responsibilities, and increased transparency in decision-making processes.

She further advocated for reforms in film selection procedures, credibility of the jury, and engagement of industry stakeholders, noting that restoring trust requires openness and clear communication.

To reposition CAMIFF as a true industry hub, she proposed introducing a film market, structured networking opportunities, and stronger partnerships with sponsors.

Roadmap for Sustainability and Accountability

On funding, she made a critical observation: “It must become attractive to sponsors through value, not appeal. Sponsors need clear returns.”

She proposed that CAMIFF should diversify its revenue strategies by introducing accreditation passes, digital monetization, merchandise, and strategic partnerships to ensure long-term sustainability.

Stephanie Tum did not shy away from addressing internal challenges, noting that strained relationships within the industry have also contributed to the festival’s difficulties.

“In all fairness, it must also be said that along the way, you have burned bridges with several industry stakeholders and sponsors… it is important to pause, reflect, and take honest accountability,” she stated.