Six-year run ends
Moviegoers in Brazzaville, Pointe-Noire and Oyo arrived to locked gates this week. Canal Olympia, the French-African network that introduced digital projection and surround sound to the Republic of Congo in 2019, has confirmed that all three multiplexes have suspended public screenings as of 11 October.
The announcement was made during a meeting between Minister of Cultural Industries Lydie Pongault and Canal Olympia chair Christine Pujade, ending a partnership often hailed as a milestone for local creative economies.
Formal closure confirmed
According to the ministry communiqué issued after the talks, the brand will no longer manage the venues but has transferred the assets to an unnamed operator expected to unveil a new roadmap in the coming months.
Neither the ticketing staff nor the group’s technicians were able to provide details regarding future programming, fuelling speculation among frequent patrons who had turned the red-and-white cinemas into weekend meeting spots.
Voices from the set
Director Hassim Tall Boukambou, whose documentary Memories of the CFRAD premiered locally this year, speaks for many in the industry. “It saddens us,” he told our newsroom, stressing the need for a ‘quick reopening under managers who understand Congolese expectations’.
For Boukambou, attendance levels rarely posed a problem whenever local stories were on screen. He recalls sold-out nights for Congolese productions and believes stronger homegrown line-ups could galvanise viewers to defend theatres whenever their survival is questioned.
Economic ripple effects
Beyond culture, the closures impact dozens of ushers, cashiers, security agents and concession vendors who relied on nightly shows for income. Many come from nearby neighbourhoods where youth unemployment already runs high, making the sudden pause a sensitive topic.
Transport operators around Total Market in Brazzaville and Grand Marché Tié-Tié in Pointe-Noire also note fewer late-evening passengers, illustrating how a single leisure venue can animate small urban economies after daylight hours.
Government reassurance
Minister Pongault underlines that the sites remain national assets and insists the transition will preserve both jobs and access. Her office says discussions with prospective cultural investors are ‘well advanced’, but no timetable has been released yet.
Officials privately note that electricity costs and the import price of new releases weighed heavily on Canal Olympia’s balance sheet, a reality any successor will have to negotiate through local partnerships and flexible ticket pricing.
Audience sentiment
Outside the Brazzaville complex, groups of teenagers described mixed feelings: disappointment over cancelled superhero marathons yet optimism that Congolese comedies could take more space under new management. Several snapped selfies by the marquee, vowing on social media to ‘keep cinema alive’.
Seasoned patrons emphasise comfort and sound quality as essentials they do not wish to lose. ‘Once you taste a real Dolby room, it is hard to go back to makeshift projectors,’ laughs Rose Ndinga, a banking employee who visited twice a month.
Filmmakers’ roadmap
Responding to Boukambou’s appeal, several Congolese directors say they are drafting a common position paper that urges future operators to reserve prime slots for regional stories, run matinées for schools and organise audience discussions to build loyalty.
Streaming not a full answer
While many urban households have embraced streaming platforms, limited bandwidth and payment hurdles mean physical theatres still offer the most inclusive access to new releases, especially for students sharing mobile data.
Analyst Lionel Obongui notes that cinemas also act as social condensers in a society where safe, affordable night-time entertainment is scarce. ‘Closing them can push crowds back toward informal venues with weaker safety standards,’ he warns.
What happens now
For the moment the three buildings remain under security watch, screens rolled up and concession fridges empty. A legal audit is reportedly under way to inventory equipment before handover, but both parties have committed to keeping maintenance crews on site.
Although no attendance figures have been published, observers recall multiple sold-out weekends driven by pan-African blockbusters and local premieres, proof that multiplex culture can flourish when marketing aligns with audience taste.
Until a relaunch date emerges, cinephiles organise on social networks under the hashtag #MonCongoCinema to share memories and lobby decision-makers. Their posts echo a simple wish: let the lights go down, the curtains part and the big screen glow again.
Cultural policy context
Since 2021 the government has listed creative industries among its ‘Les Onze Chantiers’ priorities, with pledges to upgrade venues and stimulate local production. Observers say the Canal Olympia case will test how those ambitions translate into concrete support for private-public cultural infrastructure.
Cultural economist Marlyse Ngoma suggests a tax credit on domestic film exhibition could ease pressure on operators. ‘If tickets remain affordable and distributors recover costs, the audience will follow,’ she argues, pointing to successful incentives in neighbouring markets.
Next steps for fans
In the interim, independent collectives plan open-air screenings using portable projectors in Makélékélé and Tié-Tié districts, pending municipal permits. Organisers see these pop-up nights as a bridge that keeps audiences connected until the multiplexes light up again.
