In the coastal town of Teshie near Accra, Ghana, artists continue a unique tradition of hand-painting film posters, a practice that gained popularity from the late 1970s through the early 2000s. These posters, originally created to advertise neighborhood film screenings at local video clubs, are known for their vivid, often exaggerated imagery that departs significantly from the films’ actual content.

One notable artist, Jeaurs Affutu, known as Heavy J, works on a poster for the animated fairytale *The Little Mermaid*. Contrary to the story’s gentle narrative, his painting features a man wielding a knife and a skull, elements added to capture attention rather than reflect the film’s plot. This style of imaginative and sensationalized artwork was typical as artists competed to produce the most striking “forgeries,” or interpretations, of popular films shown in the video clubs.

The surge in popularity of these hand-painted posters was driven by the initial failure of original movie posters to attract local audiences. Over time, the posters became integral to Ghana’s film culture, serving as both promotional tools and unique artistic expressions. However, the rise of television ownership and access to electricity in Ghana around the turn of the 21st century caused many video clubs to close, leading to a decline in demand for new posters. Many painters shifted to other work, though the existing posters found an international audience, becoming sought-after collectibles, especially among Western buyers.

Efforts to preserve this cultural art form are ongoing. The Deadly Prey Gallery, based in Accra, collaborates with approximately 15 artists, including Heavy J, facilitating commissions and sales to new markets primarily in the United States. Among the most popular subjects are action, science fiction, and horror films such as *The Exorcist*, *Star Wars*, and the *Terminator* series. Commissioned pieces typically start at $600, reflecting their growing value.

Robert Kofi, part manager and editor for the Deadly Prey Gallery, plays an active role in guiding artists. He matches artworks with appropriate creators, communicates artistic vision, and provides feedback during the painting process. In a nearby studio in Ashaiman, artist Benjamin Amartey, known as Stoger, is painting posters for *Poltergeist* and the experimental drama *Gummo*. Kofi’s critique of the *Gummo* poster, where he requested “uglier cat scenes” and “dirtier spaghetti,” exemplifies the artists’ creative license to heighten drama beyond the films’ actual content.

This emphasis on embellishment aligns with a broader African artistic tradition described by Joseph Oduro-Frimpong, director of the Centre of African Popular Culture at Ashesi University, as “visualising the invisible.” Since audiences often have not seen the films, artists employ “imaginative painting” that purposefully incorporates fantastical or sensational elements to engage viewers.

At the Centre for National Culture in Accra, numerous posters from the Deadly Prey Gallery are displayed, showcasing striking imagery such as Jennifer Lopez wielding an arrow at a snake in *Anaconda* and a mouse emerging from Laurie Strode’s mouth in *Halloween*. For Kofi and the artists involved, these posters represent more than advertisements—they are a preserved history and celebration of a distinctive Ghanaian artistic heritage.