As a transnational cinema event, the release of Marvel Studios’ Black Panther (2018) is arguably a monumental moment in the African experience of cinema. Coincidentally, this is followed in 2019 by the 26th edition of the bi-annual festival of Pan-African cinema, FESPACO, which will mark fifty years of the festival’s existence. In addition to the programme of screenings, African filmmakers, critics, theorists, among others, are expected to gather in Ouagadougou to engage with issues of memory, identity and the economy in relation to the idea of a sustainable and diverse Pan-African cinema. These issues have long been prominently placed on the agenda of those concerned with African filmmaking. That they remain a preoccupation of current debates, suggests their persistence, and perhaps, an urgent need for these debates to move beyond the metaphorical polarities of ‘dog eat dog’ and ‘dog eat nothing’. These ‘notes’ are therefore, in anticipation of new perspectives that would shape the futures of African filmmaking. Importantly, a perspective will be sketched to help frame an approach to the idea of Pan-African cinema as a global and transnational economy – cultural, financial and ideological.