France is betting on Kenya’s creators to usher new era of diplomacy

France’s playbook in Africa is changing, and this time, it’s not about troops, trade, or treaties. It’s about culture. 

From film studios in Nairobi to virtual-reality labs in Lagos, France is turning to Africa’s creative industries to redefine its image and influence across the continent.

The shift is deliberate. As France prepares for the France–Africa Summit set for May 11–12, 2026, in Nairobi, the focus has moved from politics to partnership. 

At the centre of this transformation is the French Embassy in Kenya, which has brought together filmmakers, animators, and digital creators to shape a new narrative of collaboration.

The summit will also bring policymakers, innovators, and investors together, including Canal+, which recently acquired South Africa’s Multichoice for over Sh387 billion,  and Banque Publique d’Investissement (BPI). 

For Kenya, it’s a chance to attract investment, partnerships, and recognition for its creative talent.

But the real story isn’t in the boardrooms, it’s in the studios, sets, and sound stages where young Africans are creating new worlds. If France’s cultural diplomacy is sincere, this could mark the beginning of a partnership built on mutual respect and shared creativity.

From power to partnership

The change in tone reflects France’s broader rethinking of its relationship with Africa, one that recognises creativity as a diplomatic bridge.

According to France’s Ambassador to Kenya, Arnaud Suquet, investing in human capital is now the key to sustainable relations.

“Kenya has a great vision for the creative economy, and initiatives like Talanta Hela have been welcomed by the industry,” he said.

But the real challenge is in delivery. While financial capital and trade are vital, investment in human capital is more difficult but more sustainable. This is where the youth are,  and where the factors of change will be.

His words reflect a growing realisation in Paris: if France wants to rebuild trust in Africa, it must do so through collaboration, not control.

Kenya at the heart of the rebrand

Kenya’s creative scene has become the test case for this new approach. Earlier this year, France sponsored a delegation of Kenyan filmmakers, animators, and AR/VR innovators to attend the Creation Africa Forum in Lagos. 

The event connected African creators from Francophone and Anglophone countries,  a first step toward bridging decades of cultural divide.

Among them was Brian Afande, co-founder of Black Rhino VR, who has attended both the Paris and Lagos editions of the forum.

“I got to meet President Macron at the first edition,” he said. “It was a great opportunity to discuss how creatives across Africa can work together through bilateral and multilateral partnerships.”

Before heading to Lagos, participants from the Association of Animation Artists of Kenya (AAAK) underwent mentorship to help them pitch to investors. 

It’s a model that merges creativity with commerce, ensuring Kenyan artists can compete globally while keeping their cultural identity intact.

The creative economy’s untapped power

Kenya’s creative economy already contributes billions of shillings to GDP and employs thousands of young people, yet it remains under-supported. The Creative Economy Support Bill 2024, which promises tax incentives and funding frameworks, has stalled in Parliament.

 Film commission chair Sudi Wandabusi believes that’s a missed opportunity.

“Kenya is the fourth-largest film market in Africa after Nigeria, South Africa, and Morocco,” he said.

Initiatives like this from the French government help bridge the Anglophone and Francophone markets, but we still need our local systems to back creatives fully.

Without stronger policies, experts warn, Kenya risks watching foreign institutions take the lead in monetising its cultural potential.

Mansa and the meaning of modern diplomacy

At the heart of France’s cultural rebrand is Maison des Mondes Africains (Mansa),  a new Paris-based institution promoting contemporary African and Afro-diasporic art.

Inspired by the legendary Malian ruler Mansa Musa, it symbolises France’s attempt to honour Africa’s creative heritage. Yet the initiative has also sparked debate at home, amid rising anti-immigration rhetoric in Europe.

Still, Mansa represents France’s most visible pivot from aid to artistry.

It’s not just about promoting African culture in France; it’s about acknowledging that culture is now a global currency.

France’s engagement with Africa is no longer about saving or teaching, it’s about listening and co-creating.

And as the world’s attention turns to Nairobi in 2026, it’s clear that the future of France–Africa relations won’t be written in policy papers or press releases. It will be told through the lens, the beat, and the brush of Africa’s creators.

This article is published in partnership with Africa Media Brands.