Hong Kong-based distributor and production outfit Cappu Films has acquired the international sales rights for the cult martial arts splatter comedy franchise “African Kung-Fu Nazis,” its highly anticipated sequel, and an accompanying behind-the-scenes feature documentary. The strategic agreement, finalized with filmmaker and producer Sebastian Stein of Humanmade Films, was officially unveiled on the sidelines of the prestigious Taiwan Creative Content Fest (TCCF) currently taking place in Taipei.
The comprehensive deal covers three distinct titles from the unique franchise: the original feature “African Kung-Fu Nazis I,” the continuation “African Kung-Fu Nazis II,” and the making-of feature documentary titled “African Kung-Fu Nazis – The Doc.” According to the terms of the arrangement, the acquisition applies exclusively to rights and territories that remain currently open on the global market, ensuring that distribution agreements already successfully in place across various regions stay entirely untouched.
The unique cinematic property has already carved out a distinct niche on the global festival and home entertainment circuit. Japanese independent distributor Transformer previously acquired both features for theatrical exhibition in Japan, giving the original film a cinematic release in June 2021 before following up with the theatrical rollout of the sequel four years later in July 2025. In the European market, Busch Media Group managed the home media and digital release of the first film, handling distribution across DVD, Blu-ray, and video-on-demand (VOD) platforms.
The sequel has likewise enjoyed a robust festival run, highlighted by a screening in 2025 at the Sitges Film Festival’s renowned genre sidebar, Brigadoon. Its festival momentum continued into 2026 with international stops at the Brussels International Fantastic Film Festival (BIFFF), the Grossmann Fantastic Film and Wine Festival, and Mexico’s Macabro Film Festival, where the project earned a notable honorable mention.
The “African Kung-Fu Nazis” series is celebrated for its unapologetic and eccentric blend of high-energy kung-fu action, extreme gore, classic horror tropes, and biting dark comedy. The creative DNA of the franchise draws heavy inspiration from vintage Hong Kong martial arts cinema while remaining deeply rooted in Ghana’s vibrant independent filmmaking scene. In the inaugural film, a group of resilient Ghanaian kung-fu fighters square off against absurd, satirical send-ups of infamous wartime figures from Nazi Germany and Imperial Japan. The rogues’ gallery featured in the narrative includes parodies of Adolf Hitler, Hideki Tojo, and a character known as “Horseman” Goering.
The escalation of the narrative in the sequel brings even more bizarre threats to the screen. The follow-up film teams up a one-armed martial arts fighter named Addo alongside character Sek Tin as they attempt to thwart the malicious ambitions of a cyborg antagonist dubbed “Adolf Robotler,” who launches a campaign to become the president of Ghana.
Behind the scenes, the production of the sequel represents a truly global collaborative effort. Sebastian Stein noted that the project functioned as a Ghana-Japan-Germany co-production. Shot primarily on location in Ghana, the film was financed largely through crowdsourcing campaigns, with an extraordinarily enthusiastic fan base in Japan providing a significant portion of the financial backing following their appreciation for the original movie.
Meanwhile, “African Kung-Fu Nazis – The Doc” offers audiences an intimate look behind the camera, capturing the chaotic, passionate, and entirely independent shoot that originally launched the unconventional franchise into the global spotlight.
Reflecting on the philosophy behind the project, Humanmade Films CEO Sebastian Stein emphasized the rebellious and liberating nature of the cinematic endeavor. With their love for Chinese kung fu, our Ghanaian heroes smash the threat of fascism, Stein remarked, describing the enterprise as a combination of total freedom and beautiful madness. He encapsulated the spirit of the production by noting that one cannot expect to drink champagne without taking a significant risk.
As part of their expansive international marketing and distribution push, Cappu Films and the filmmakers are also laying the groundwork for a dedicated line of art-led merchandise. Planned in collaboration with Cappu’s sister company, Winners Gallery, the merchandise line will be built directly around the distinctive characters and visual style of the film franchise, though specific product concepts and release schedules remain under wraps until finalized.
Janice Woo of Cappu Films expressed enthusiasm for the partnership and the company’s broader commitment to boundary-pushing cinema. Explaining the rationale behind the acquisition, Woo stated that the company loves fiercely independent horror and cult films and aims to support creators who pursue visions entirely of their own making. She highlighted the genuine appreciation for classic kung fu cinema embedded within the franchise, noting that because Cappu operates out of production backgrounds themselves, they understand the immense effort required to bring a project of this nature to life. Woo added that the team is thrilled to collaborate with Sebastian Stein and help introduce all three titles to a wider global audience.
Beyond its newly expanded slate, Cappu Films maintains a diverse operational footprint that includes an office in Beijing, where the company manages select releases for its domestic market and mainland China. The distributor’s varied catalog spans high-profile commercial titles and festival-darling independent projects alike. Notable entries on Cappu’s slate include the Tony Leung Chiu-wai crime thriller “Fox Hunt” and Shan Jiang’s drama feature “Ephemera,” which premiered in the U.S. Narrative Competition at the Tribeca Festival. The company’s roster also features Carter Ward’s romantic feature “Step Back, Doors Closing” alongside Francesco Lucente’s ambitious fantasy adventure “Sinbad,” a project that benefits from co-financing and production backing from visual effects powerhouse DNEG.
