Released in 2024, A Country Called Ghana is a Ghanaian film directed by Frank Fiifi Gharbin. Marketed as a historical epic, it premiered in Nigerian theatres on 28 February 2025.
The film, rated PG-13, aims to merge comedic drama with cultural commentary, delivering an ambitious narrative that explores themes of tradition, greed, and foreign exploitation. Told through a mix of Twi and English, the dialogue reflects the cultural and linguistic dynamics of its setting, immersing the audience in both the humour and gravity of its story.
The Premise
In A Country Called Ghana, two European men, Sir Frank and Mario, arrive in a remote Ghanaian village, claiming to be missionaries bringing “development.” Accompanied by their Nigerian guards, they are met with curiosity and skepticism. Their only link to the villagers is Professor, a flamboyant local who speaks English and serves as their interpreter. Before allowing them entry, he insists on informing the village elders and the king.
The visitors are welcomed with grand cultural performances, a spectacle of music and dance (Learn more about Ghanaian cultural dances). But once the celebrations end, their true intentions emerge. Sir Frank instructs his men to search for a particular house. During a chance encounter, he offers to help a young woman, Adwubi, carry water to her home. Inside, his eyes lock onto a sacred shrine. When he learns that it belongs to her father, he realizes he has found what he came for—a statue.
Eager to take the artefact, Mario makes a move, only for the object to burst into flames upon his touch. Recognizing its spiritual protection, the two men turn to Professor for help. Frank spins a ridiculous tale about needing the statue to aid his sorceress mother. Professor dismisses him—until Frank offers him $2 million and a way out of the village. The offer jumps to $5 million, and with greed outweighing loyalty, Professor agrees. But he too is unable to carry the statue, as it also bursts into flames in his hands. Realizing they need another approach; they devise a new plan.
Their strategy hinges on manipulating Adwubi. Professor convinces her that Frank has a romantic interest in her. Swayed, she attempts to take the statue herself, only to face the same supernatural resistance. Desperate, she learns the necessary rituals to break the spell. Once the ceremonies are complete, the theft succeeds, and the group flees into the night.
Back in the village, Adwubi’s father, the chief priest, discovers the betrayal. Furious, he calls upon the spirits to retrieve the stolen artefact.
Meanwhile, in the forest, supernatural forces begin tormenting the thieves. Invisible entities flog them mercilessly. Fear sets in, and even Adwubi and Professor question their choices. When they suggest returning the artefact, Frank pulls a gun, forcing them to continue. But paranoia spreads among the guards, and soon, the once-loyal men begin doubting their leader.
As the spirits’ wrath intensifies, targeting only the Europeans, Professor seizes the moment. He overpowers Frank and Mario, reclaiming their weapons. Leading the group back to the village, he pleads for forgiveness. The king sentences the Europeans to imprisonment, while Professor, seeking redemption, accepts his fate among his people.
The film ends with a solemn reflection on the dangers of foreign exploitation, leaving the audience with a stark reminder of the consequences of greed and colonial ambition.
Cast and Performances
Ramsey Nouah takes on the role of Sir Frank, a European colonizer with a suspiciously well-polished British accent. While it’s surprising to see him pass for one of the so-called oppressors, he manages to carry his role with a level of conviction that makes you forget he is not who they say he is. Even though it often feels like he’s there more for star power than to embody a fully realized character.
Mario, played by Tony Hans, is the quiet right-hand man. Unlike Frank, he doesn’t say much throughout the film, and when he does, his accent leans more Ghanaian than European. His performance is serviceable but lacks depth—he is more of a shadowy figure lurking in the background than an actual driving force in the narrative.
Then there’s Professor, played by Kwadwo Nkansah (Lilwin), who not only stars in the film but also serves as one of its producers. A real-life Ghanaian comedian, Lilwin does his bit to bring out the comedy in the movie, infusing his signature over-the-top energy into the role.
Victor Osuagwu and Charles Awurum, the two guards, appear to serve as comic relief, though one wonders if that was always intentional. Their exaggerated reactions and dialogues add an unintended layer of satire to the film, making it difficult to discern whether A Country Called Ghana is a historical drama or a parody of one. While they provide a few laughs, their presence does little to elevate the story beyond its chaotic execution.
Ultimately, the film delivers a mix of performances—some actors make the most of their roles, while others feel misplaced in a narrative that struggles to find its tone.
What I Liked About The Movie
The film makes a commendable attempt at addressing cultural preservation, weaving themes of tradition and identity into its narrative. Although the cinematography lacks consistency, it occasionally captures Ghana’s landscapes with stunning beauty, providing a visual feast that briefly distracts from the film’s flaws. Ramsey Nouah’s presence, though questionable, adds a layer of credibility and elevates the production value, making the film feel a step above a typical low-budget project.
What Did Not Work
The film struggles with a glaring identity crisis, unable to decide whether it’s set in a pre-colonial era or a modern one. One moment, villagers are clad in traditional attire, and the next, someone strolls by in sneakers. The so-called Europeans, supposedly colonial figures, casually bribe people with actual U.S. dollars—because, apparently, historical accuracy was optional. Palace guards, dressed in oddly modern outfits yet wielding swords, only add to the confusion. At times, it feels less like a film and more like an elaborate stage play where the props don’t match the supposed era.
Then there’s the very obvious question: how is it that Ramsey or his partner are supposed to be Europeans or foreigners? Was it simply because they were light-skinned? If that’s the logic, then half the villagers could be considered foreigners too. What exactly was the thought process behind the casting? Hell, the entire plot. I kept waiting for some kind of parody element to hit me. Well, safe to say, that this movie is designated as a comedy—so there’s that.
Beyond these missteps, the film completely lacks the realism one would expect from a story tackling historical themes. Unlike similar Hollywood productions that pay attention to detail, this film feels more like a community theatre project that somehow made it onto the big screen.
Final Thoughts
While A Country Called Ghana is an ambitious effort, it ultimately fails to deliver a cohesive cinematic experience. It leans too heavily on melodrama and lacks the polish needed to make it a truly compelling film. Fans of exaggerated, theatrical storytelling might find something to enjoy, but for those expecting a serious historical epic, this one misses the mark.
How Would I Rate This Movie
I’ll rate this movie 2/5
Rating
What did you think of A Country Called Ghana? Did you enjoy the theatrical performances, or did it feel like a stage play trying too hard? Let’s discuss in the comments!
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