Ghana Here I Am

Ghana Here I Am (2025) represents a disappointing missed opportunity in African travel documentary filmmaking. Directed by Raphael Dassah and hosted by Nathan Pelle—who also serves as executive producer—the film promises viewers a "captivating journey" through Accra's rich history, bustling markets, and colorful traditions. However, the documentary largely fails to deliver on this ambitious premise, instead devolving into what amounts to a 60-minute promotional reel for real estate developments and superficial cultural performances. The AfroLandTV streaming platform, which specializes in Pan-African content, hosts this production that ultimately prioritizes commercial interests over authentic storytelling, reducing Ghana's vibrant capital to a backdrop for apartment sales pitches and staged drum circles rather than genuine cultural exploration.

The documentary's fundamental flaw lies in its confusion between travel journalism and sponsored content. While Accra indeed possesses a fascinating urban landscape where colonial architecture meets modern development, Ghana Here I Am chooses to focus disproportionately on luxury condominium projects and investment opportunities targeting the diaspora community. This approach not only alienates viewers seeking meaningful cultural insight but also perpetuates problematic narratives about African cities as mere emerging markets rather than complex cultural centers. The film's treatment of traditional drumming and dance feels equally transactional—performances are presented as tourist spectacles devoid of historical context or community connection, serving merely as colorful interludes between property showcases. This reduction of Ghanaian cultural heritage to aesthetic wallpaper for real estate marketing represents a particularly egregious form of documentary exploitation.

What makes this failure especially frustrating is the evident talent involved and the genuine potential of the subject matter. Dassah's cinematography captures Accra's visual energy effectively, and Pelle's hosting presence suggests capability for deeper engagement that the script never allows. The production team includes numerous African crew members across departments—from sound design to color grading—indicating resources that could have supported substantial storytelling. Yet Ghana Here I Am ultimately exemplifies a troubling trend in contemporary African documentary production where funding pressures and commercial partnerships compromise editorial integrity. For viewers seeking authentic insight into Accra's evolving identity, the film offers little beyond surface-level visuals; for those interested in Ghanaian real estate investment, it functions adequately as marketing material. The documentary stands as a cautionary example of how even well-intentioned projects can be undermined when commercial imperatives override cultural respect and journalistic responsibility.