As a seasoned industry professional with extensive experience in African animation and film production, I am both excited and concerned about the current state of our continent’s media landscape. On one hand, there is a palpable sense of momentum and passion that is driving new investments and financing models, which have the potential to unleash the full creative potential of African storytellers.
In the bustling coastal city of Durban, South Africa, the 15th FilmMart edition concluded this week with a sense of excitement and optimism among attendees. Held from July 19-22, this annual event attracted film industry professionals from various African regions. Discussions centered around the future of African film finance, potential collaborations across Africa, and the importance of creating a resilient film industry amidst climate change challenges.
Approximately 1,500 individuals participated in this year’s DFM conference, hailing from over 58 African countries and beyond. The event featured an impressive roster of guests such as Dorothy Ghettuba, Netflix’s director of content for sub-Saharan Africa, and Chris Mack, their creative talent director; Emad Eskander, head of the Red Sea Film Fund; Frédéric Fiore, president of Logical Pictures Group, a film and TV equity firm; Nicola Ofoego, acquisitions head at Black Mic Mac in Paris; and Katie Irwin, agent and co-head of international at WME Independent.
At this year’s Durban FilmMart, an exciting group of African filmmakers joined the global executive ranks, bringing youth and vitality to the continent’s burgeoning film industries. Some young filmmakers from Johannesburg and Cape Town shared with EbMaster that they had come “for the atmosphere,” while others, hailing from Tunis, Tanzania, Lagos, Lusaka, Abidjan, and Algiers, arrived with their pitch decks in hand, demonstrating the diverse storytelling found on the continent. The theme of this year’s event was aptly titled “African Visions Unleashed,” reflecting the boundless energy and passion present.
Here are EbMaster‘s takeaways from a busy week in Durban:
South Africa at a crossroads
In the past year, South Africa, marking its three decades of democratic governance, has been a time for introspection for local filmmakers. They voiced their optimism and disappointment regarding the industry’s advancements and the remaining strides to be made. Onke Dumeko, head of operations at South Africa’s National Film and Video Foundation (NFVF), shared her perspective: “This industry has always showcased a blend of defiance and valor. The interest is evident. The audience exists. We witness the stunning productions. We see the potential.” However, she acknowledged the hurdle of meeting this demand. The Department of Trade, Industry and Competition (DTIC) faced criticism over its handling of South Africa’s ailing rebate system, while others emphasized that addressing the legacy of apartheid’s inequality was an ongoing process.
As a passionate fan of Black filmmakers and their contributions to the industry, I can’t help but acknowledge that the playing field isn’t level for many of us. Despite various initiatives aimed at nurturing young talent, the struggle to make an impact in this field remains real. Yet, I’m in awe of how far South Africa has come in just three short decades. Our film and television industry is now more reflective of our diverse nation. As Yashika Singh from SABC puts it, “The narratives that have emerged over time have shaped who we are as a collective South Africa.” It’s been an uphill battle, but new stories continue to surface, enriching our cultural landscape.
Women make moves
As a film enthusiast looking back at the early post-democratic elections era in South Africa, I can personally attest that there were virtually no open doors for individuals like Lala Tuku and Lindi Ndebele-Koka in the film and television industry. Knocking on various establishments’ doors, I found myself being met with blank stares and a lack of comprehension regarding my aspirations and the unique challenges we faced. At that time, I believed wholeheartedly that I could make a difference and shake things up within the industry. However, two primary obstacles stood in our way: our youthfulness and our identities as women and Black individuals.
As a passionate cinephile, I’ve been thrilled to witness the significant progress South Africa’s film and television industries have made in addressing gender imbalance. With Tuku leading the charge as SABC’s head of content, we’ve seen an increasing number of women taking on key roles. However, Ndebele-Koka reminded us that there is still much work to be done. The lack of women in technical roles and below the line persists, and unfortunately, sexual harassment continues to plague our workplaces. We remain steadfast in our advocacy efforts, but as a veteran casting agent, I can’t help but feel weary of the slow-moving change. It’s time for us to leave an industry that’s stagnant and in need of transformation, and make it a better place for future generations.
Fresh voices, fresh eyes on the world
At the DFM’s co-production and financing forum in sub-Saharan Africa, which is widely regarded as the premier platform for industry influencers, this year’s lineup introduced a multitude of new talents and their unique perspectives through a diverse array of stories. Among the notable winners at the awards ceremony was “Acts of Man,” a supernatural crime series created by Sheetal Magan and Sean Drummond that adds a local twist to the familiar genre, affectionately referred to as “African noir.” Other successful projects included “Africa AI” by Amilcar Patel and Chris Kets, an investigative documentary on the potential downsides of artificial intelligence in Africa, and “The Moon Can’t Run,” a film produced by Shveta Naidoo and Naishe Nyamubaya about Zambia’s underdog space program.
Through various forms and types of media, the chosen works provided an exhilarating preview of what’s to come from African artists in the near future. This year’s Durban FilmMart was hailed as a “authentically African event” that embraced an impressive assortment of filmmakers. Magdalene Reddy, the director of Durban FilmMart Institute, highly commended a collection of projects that showcased the power and potential of African cinema.
Vive la France!
It’s expected that Canal+ and MultiChoice’s acquisition will soon overcome the last legal and regulatory challenges. Meanwhile, a group of French media professionals were present in Durban this week, which isn’t surprising given that France has co-production agreements with ten African countries – more than all the bi-lateral agreements between African nations combined. Since 2012, France has backed around 80 film productions on the continent through its Aide aux cinémas du monde (ACM) scheme. The French-African partnership is set to continue, with Logical Pictures Group unveiling a significant new financing tool for African projects at Cannes – as first announced in EbMaster.
Frédéric Fiore, the group’s leader, expressed their goal this week in Durban: bringing European architecture, particularly financing and distribution methods, to Africa. Simultaneously, South Africa is preparing to launch the family adventure series “The Emperor’s Stone: The Search for La Buse’s Treasure,” produced through the Alliance – a 2018 collaboration between France Télévisions, ZDF, and RAI. Paradoxal, Rémy Jacquelin’s Parisian production company involved in the project, has already completed filming “Recipes for Love and Murder” and “The Morning After,” now available on Prime Video in Africa. They are actively seeking new stories from Africa that will resonate with African and global audiences.
South African solidarity with Palestine
As a movie reviewer, I recently attended the Durban FilmMart where three works-in-progress from Palestinian cinema were presented. This event highlighted the strong backing for Palestine in South Africa, which took legal action against Israel at the International Court of Justice over allegations of genocide in Gaza. Palestinian filmmaker Mohamed Jabaly, who received best directing accolades at IDFA last year for “Life Is Beautiful,” emphasized the importance of festivals and industry platforms taking a more active role as we near the one-year anniversary of the conflict in Gaza. He urged these organizations not to merely display Palestinian flags on their logos, but rather to fulfill their responsibilities and curate programming that resonates with their audiences.
Jihan El-Tahri, a documentarian from Egypt and France, pointed out the discrepancy between the film industry’s business as usual approach and the urgent need for change in today’s world. She expressed her concern that while everyone is aware of the global crisis unfolding before us, the film industry remains oblivious to this reality. Miki Redelinghuys from the Climate Story Lab SA emphasized the importance of taking action, despite the silencing of Palestinian and pro-Palestinian voices in cultural institutions. She urged, “Whatever we do, it may not be enough, but doing something holds power. We all must find our unique way to show solidarity.”
African toons take off
Hamid Ibrahim, a Nigerian animator, shared his disappointment before proposing the concept for Disney Plus’ original series “Iwájú,” an imaginative sci-fi story set in a futuristic Lagos. Frustrated that Africa’s rich stories were being overlooked, he questioned, “How can there be such a wealth of tales – this is where civilization began – and yet you expect me to believe we cannot create a single story that the entire world would be captivated by?” Since then, interest in African stories has grown: “Iwájú,” co-produced by Disney and Kugali, the entertainment company owned by Ibrahim, debuted on the streaming platform earlier this year. It followed closely behind the release of the animated sci-fi anthology series “Kizazi Moto: Generation Fire.”
As a movie reviewer with a passion for animation, I’ve noticed an exciting shift in the continent’s animation scene. We’re no longer just limited to streaming platforms and children’s broadcasts; our work is gaining visibility at prestigious events like Annecy. Paramount VP Dillon Khan believes this is just the beginning, predicting a “paradigm shift” that will make animation more accessible to African creators as new technologies emerge and industry barriers fade.
New money, old problems
Fresh financing options and innovative business structures are paving the way for the African film industry to flourish, yet there’s a significant learning process for newcomers. Traditional financial organizations need to be flexible in adapting to this agile sector, while foreign producers must chart new paths. It’s crucial to enlighten them about investing in content and highlighting both the advantages and disadvantages of the African market. This needs to occur amidst the chaos in the U.S. media landscape, according to Frédéric Fiore, CEO of Logical Pictures Group.
African content creators are thrilled about the upcoming content boom, but they’re still faced with the persistent issue of getting their work seen by audiences. As Katie Irwin, an agent and co-head of international at WME Independent, put it, “The distribution channels here are complex.” While the presence of streamers has helped many filmmakers and production companies complete projects, Irwin emphasized that this can’t be the only solution. Joel Chikapa Phiri, executive chairman of the Known Associates Group, echoed her sentiments, stating, “If we don’t solve the distribution problem, we won’t be able to make sense of this model.”
Tapping into the diaspora, rethinking the global audience
Not all people agree that the solution solely lies in the international market. In the industry I’m involved with, which is based in North America, there’s a belief that there isn’t a substantial audience for African films. Nataleah Hunter-Young, an international programmer at the Toronto Film Festival, expressed this viewpoint. Themba Bhebhe, an independent industry programmer, who previously held the position of Diversity and Inclusion lead for the European Film Market, pointed out that there are over 200 million people of African descent in the Americas alone, not to mention the continent’s population of 1.2 billion and the multitudes more dispersed around the world in the diaspora. Bhebhe emphasized the importance of questioning a norm that predominantly caters to North American and European viewers (and investors), especially for filmmakers who aim to create films that don’t primarily target this ‘global’ audience.
As a movie enthusiast, I strongly believe that focusing on building your local audience is crucial. Hunter-Young hit the nail on the head when he said, “My advice would be to develop the audiences where you’re at. Nothing is more important than that.” The most prosperous industries worldwide have always put their home base first.
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2024-07-24 11:51