What started as a young man filming school music events and mixtapes at Labone Senior High School around 2010 has grown into a filmmaking journey spanning Ghana and the United Kingdom.
Malik Ofori’s entry into filmmaking was simple. While in school, he filmed music events and produced mixtapes. After graduation, his friendship with musicians provided an opportunity to take his passion further.
One of his friends, Ball J of New Africa Records, lived close to him. He began spending time at the studio and would offer to shoot music videos whenever an artiste recorded a song. His first music video for Bojay was shot with his phone.
When the video was uploaded to YouTube and people began taking notice, he realised filmmaking could become more than a hobby.
“I realised this could be more than just a hobby,” he told The Mirror in a phone interview last week.
With no formal filmmaking training mentioned in the interview, he developed his skills through practice, YouTube tutorials and experimenting with editing software. Each music video became an opportunity to improve on his previous work.
His filmmaking style is centred on storytelling. He believes a music video should not simply look beautiful but should have a story capable of connecting with its audience.
“A music video isn’t just about it looking pretty. It has to have a story behind it,” he said.
He therefore approaches music videos like short films, paying attention to suspense, quick cuts and camera movements to keep audiences engaged.
That approach was evident in his work on Rocky Jigga’s “Obaahemaa”, shot in Bristol. Rather than relying only on performance scenes, he created transitions in which Rocky Jigga and a female character appeared to teleport to different locations whenever he touched her.
The concept allowed him to showcase different parts of Bristol while reflecting the emotions of the song.
“Every single scene was intentional,” Ofori said.
Working in Ghana and the UK has also shaped his approach. He said Ghana taught him to be resourceful because many of his early projects involved limited budgets. In the UK, he encountered a more structured production environment, easier access to equipment and a wider range of locations.
However, he has not allowed the international environment to erase the African identity in his work.
In “Obaahemaa”, he incorporated Afrobeats and African dance, even teaching some of the white cast members African dance moves. He also drew inspiration from African cinema and supernatural elements associated with Nigerian films.
His ambition is to continue telling African stories to international audiences.
Music videos, he says, have provided the foundation, but his long-term goal is to direct feature films, documentaries and commercial productions combining cinematic techniques with African perspectives.
A major influence on his development has been filmmaker Kennedy Ayiah, whom he worked with at We Do Group in Ghana. Their collaboration included “Kwen Kwen”, the popular campaign song produced with Nacy for the National Democratic Congress during the 2024 presidential election campaign.
In that production, Ayiah served as director, and he worked as co-director.
The project eventually gained significant attention online, particularly on TikTok.
He said he was excited to see the production gain traction, especially when behind-the-scenes footage eventually revealed his involvement, and people began mentioning him online.
Among the projects that have shaped him most is “Obaahemaa”. The production was challenging because of its visual effects and the unpredictable UK weather, which affected continuity and forced the team to work quickly.
Despite the challenges, the experience strengthened his desire to push his creativity further.
His next goal is to work with bigger crews and budgets to create even more ambitious productions.
Other projects he has worked on include “Game of Thrones” by Ball J, “Upness Flow” by Kwesi Amewuga, “Slow Down” by Rocky Jigga featuring Ball J, as well as the NDC campaign songs “24-Hour Economy” and “To Aba Pa.”
