This paper explores the evolving significance of production design in Anglophone Cameroonian filmmaking, emphasizing its narrative, cultural, and ideological functions within postcolonial and resource constrained contexts. It argues that production design in this setting operates not merely as technical support but as a form of visual authorship and cultural negotiation. Through close analysis of two feature films The Fisherman’s Diary (2020) and Saving Mbango (2020) the study investigates how spatial design, material textures, and symbolic elements construct meaning and enhance emotional resonance. Drawing on interviews with production designers and viewer feedback from public screenings, the paper reveals a shift from incidental visual composition to intentional, thematically charged design practices. In response to the inadequacy of dominant global models in capturing these dynamics, the study proposes the Modified Production Design Analysis Model (MPDAM). This decolonial, context-sensitive framework foregrounds collaborative labour, symbolic economy, and cultural specificity. By repositioning production design at the heart of film analysis and practice, this paper contributes to broader debates in African cinema about aesthetics, authorship, and the politics of representation.