Final Rating: 3.5/5
The Eyes of Ghana, the latest documentary from director Ben Proudfoot, captures some of the history of the nation of Ghana, while focusing on the importance of preserving its film record. It’s seen through the eyes of cinematographer Chris Hesse, depicting his relationship with Kwame Nkrumah, the country’s first Prime Minister, and Ghana itself. Chris, now in his nineties, was the cameraman who filmed Nkrumah in the 50’s and 60’s as a young man. He is a charismatic figure who unfortunately is now losing his sight from glaucoma. The irony of his eyes being how he made his living for so many years is not lost on him.
The film is composed of interviews mainly with Hesse and Ghanaian filmmaker Anita Afonu, focusing much of the time on the political and social climate of the Nkrumah era. Interspersed, it exhibits what footage has thus far been converted from Hesse’s work. This is but a fraction of what remains, as there is still some 300 hours left to be restored. Nkrumah’s reign ended with a military coup, and as such, much of Chris’s footage was destroyed by the incoming leadership.
Nkrumah, who was educated in the US at New York’s Lincoln University, was an inspirational leader who sought sovereignty for his country, and all those in Africa. He met with world leaders from JFK to Queen Elizabeth II, and we’re enlightened by Hesse’s footage of these historic moments and figures which were key components in shaping the nation. Other notable figures include Richard Nixon and LBJ, a sign of just how much influence the US wielded in this time period when African nations were seeking their independence from European colonizing nations.
From speaking at the UN to various events around the world, Nkrumah fought for what he envisioned as The United States of Africa. As the story unfolds, it notes they suspected that the CIA was involved in the coup that removed him from power, as they felt he was leaning too far towards communist powers, and installed military rule.
One man’s freedom fighter is another’s oppressor. He was beloved by some and reviled by others, cast as a dictator who erected statues of himself around the nation, and imprisoned those who dared descent. There is an exchange between Hesse and a group of young film students, who obviously would have heard the stories from their parents and grandparents about Nkrumah, and when asked about what kind of man he was, Hesse defers to his tapes and notes you have to decide for yourself.
The film touches on these themes of self-determination and freedom, while, like Hesse, never definitively taking any side, simply showcasing what footage it can present and Hesse’s interpretation. One thing Hesse emphasises is the importance of him having a copy of the original negatives safely stored in London, so that there is a surviving record of the history of the nation for the younger generation to build from, and help inspire them.
He is staunch in his belief that film is perhaps the best way to chronicle and reveal the nation’s history and that is why they are seeking funds to undergo this costly exercise of having his work digitized so it can live on as not only important work, but historical artifact.
In order to give these films their proper due, they renovate a cinema in the capital of Ghana, Accra’s old Rex Theatre in order to have a public exhibition to celebrate Hesse and his work. The theater, covered in cobwebs and dusty furniture, is rejuvenated much as Hesse tells us his spirit was throughout the process, as he relives his life and reflects on his county, his contributions and the medium itself. It is in these final moments the sense of community, culture and appreciation for the impact art has is most on display, and should resonate across cultures.
The Eyes of Ghana was seen during the 2026 International Film Festival of Ottawa.
