Ghana's mobile video clubs could not print, so they painted. From the mid-1980s to 2000, artists worked oil and enamel onto stitched 50kg flour and rice sacks, rolled the results up, and carried them from village to village ahead of a generator, a TV and a VHS deck.

The result is advertising with no restraint in it: enamel grounds worked edge to edge, hands and eyes and blades drawn far past scale, ghouls invented well beyond anything in the film, and Hollywood titles hand-lettered from memory, misspellings and all. This system keeps that pressure — every surface is a painted panel, every headline carries a brushed outline.