Attend any global film event or market these days and youll find a - - PDF document

Attend any global film event or market these days and you’ll find a lot of people talking Africa. African content, African authenticity, African stories. The Berlinale has hosted the Africa Hub for 3 years now, Cannes is making a lot of noise around their Africa Pavilion, and Toronto, even SXSW have African Pavilions or specialised programs and screenings. Many (maybe even most) of these events are important platforms to showcase African filmmakers and content producers, and to promote a handful of top African titles, however, if you speak to producers who attend these events, the reality is that very few deals are actually being done at these events. These events are wonderful for networking, learning about the latest trends, personalities and organisations working on the continent, but there tend to be very few buyers actually looking for content. The spaces are designed more around education than around sales. A producer or sales agent looking to sell is going to find themselves up against intensely fierce competition within the general sales markets at these events where country high-profile sales companies and well-

• rganised country delegations promote a wealth of diverse content.

African producers and sales agents will generally need to make their own way at these global events, competing with much more sophisticated markets – sales agents from Europe, North America, South America and Asia tend to have a lot more content to offer and more money to support the marketing and sales of the content.

At this year’s EFM, Namibia and Rwanda were the only African countries with a noticeable presence amidst dozens of other country stands and exhibitions. This means that African producers and sales agents will struggle to even get the right meetings, and are even less likely to ink the deal with any of the global buyers on site. The business end of actually selling African content into a global marketplace is still, in my view, lagging well behind what the media hype around African content would have us believe. After listening to many of the discussions and even presenting at many of these events, I continue to wonder when the African TV/film/content space will hit the critical mass necessary to truly transform the industry into one that is no longer just surviving, but rather into a growing and thriving creative force that drives economic growth across the continent. So while there is value in attending these global events, what they tend to highlight is the potential of the African market and the global interest in this future potential. However, interest in a potential future is very different to real and wide- spread interest in the purchase of African content on a widespread basis. Buyers of African content are still predominantly African, and while the major global players who have made the most noises about producing African content are streaming or VOD platforms such as Netflix, it is rather the smaller players, the dozens of free to air stations and their pay TV channel contemporaries that are keeping the industry alive.

The international companies with vested interests in the continent, the likes of DW, Canal + and Coute Oueste and Star Times have, for decades licensed and produced African content for their African platforms, and to a smaller extent for diasporic markets. Cote Ouest and more recently, Canal+, through their A+ channel have been dominant in the creation and licensing of francophone content. Canal+ is also clearly moving into English speaking Africa with and the recent acquisition of Nigeria’s ROK Studios and IROK streaming platform. These companies, as well as Multichoice and Showmax, who have bet the farm on Africa, and, don’t have much choice, are the dominant forces in the African content space, with additional players such as China’s StarTimes, and the now African owned Kwese iflix adding to the mix. The only other global company consistently licensing and producing content for the African diaspora, albiet on a very small, is The Africa Channel, who operate on some pay TV bouquets in North America and

• nline via their streaming Demand Africa platform.

However, the other major studios, streaming platforms and international production houses have only just begun to test the waters with African content. Therefore, the belief that some in the industry hold that global (read American or European) players are going to somehow ( and rapidly) transform the African content industry is not substantiated in fact.

Despite the very well promoted announcements from platforms such as Netflix, it is actually only a handful of African originals that have been commissioned or co-produced globally, with slightly more being licensed. Making news most recently has been the Mnet, ZDF and Cinemax co- production of Deon Myer’s Trackers. This multi-national production sees a potentially exciting model of partnership that is producing content for multiple audiences and regions. This year, Netflix announced three co-produced original South African series (Queen Sono, Shadow, Blood & Water), along with the animated series Mama K’s Team 4, and the Nigerian film Lionheart. For this, they have received massive attention from media and professionals across Africa; however, in the grand scheme of their global productions, these are not massive announcements, especially when compared to what Netflix Originals is doing in other parts of the world. Compare these numbers to Netflix Originals in India who announced in April that ten new original movies were already in production for 2019, following on from the five previous original movies, and the eight to ten

• riginal series that went into production within the Indian market this year.

In terms of just numbers, the market potential of Africa matches India, yet the reality is that the Indian market is much more sophisticated in terms

• f access to streaming platforms and in their ability and expertise in telling

and selling their own stories both at home and on a global scale.

Estimates are that in India, Netflix has between 1-2 million subscribers, and has set its sights on this market for its growth potential despite threats from many local competitors. In Asia, Netflix has over 58 million subscribers and has already produced 100 originals in eight countries and already has 17 announced for 2019 that will be produced in Japan, Taiwan, Thailand, India and South Korea. Netflix announced 24 new titles for Europe in the fourth quarter of 2018 – that’s equivalent to the total for the region in 2017 and increased the number of European titles it produced by another third during 2019, having delivered 141 projects in 2018. When one looks at the numbers in Africa – not the potential numbers- but the actual numbers, it is clear, from a business perspective why major players such as Netflix are taking things slowly. There are stacks of statistics and data that show the massive potential market that Africa represents, with a population of 1.4 billion and an estimated 77% considered “youth” – and with smart mobile phone and broadband data penetration increasing exponentially – Africa’s potential to sell to itself is self-evident. However, the current realities of technological limitations, the lack of access to broadband and affordable data services, along with the economic inequality and massive poverty still on the contintent, means that the African content market is in a semi-permanent state of “emerging” and yet never quite arriving.

I believe this is also partly due to the pervasive view that we have not “made it” unless we do so on a global scale. Films are only deemed successful or even worthy if they screen at Cannes or TIFF, not at DIFF

• r AFRIFF.

Similarly, producers have also convinced themselves that their only sales and distribution options are through international platforms, forgetting that free to air TV across Africa is still the biggest player in the space and that many of these channels, as well as many of Africa’s newly emerging pay TV platforms, are more likely to commission or license African content. The buzz around streaming, VOD and OTT has also blinded many producer to the reality that most Africans still get the bulk of their content from good old fashioned free to air, and pay TV platforms. Africa is predicted to have 45 million pay TV subscribers by 2024 and 690 million smartphones by the same year. Uzalo, the South African soapie on SABC 1 hit the 10 million viewer mark in June, and has sustained these numbers, with the show breaking the 10.2 million viewership mark earlier this month, the highest ever recorded by a show of any format. In Nigeria, Africa Magic is one of the most popular channels, and an estimated 5 million people in Nigeria (over 40% of the total DSTV subscriber base in Africa) have access to the channel. There are also 28 free to air channels in Nigeria.

I quote these stats to give you a sense of the massive audiences that do have access to TV and do actively and often enthusiastically watch TV, and African content in particular. While hard data and statistics for African markets is very hard to come by, according to estimates, streaming platforms, although gathering much of the attention, are still minor players. While Showmax is spending a small fortune on the assumption of rapid growth, the latest estimate from BusinessTech states that Showmax has approximately 500-600,000 in South Africa, and no significant numbers elsewhere as having only recently launched in Kenya and Nigeria. Netflix is estimated to have 300,000 subscribers in South Africa

• ptimistically, but more likely the number may even be half of this.

According to a recent article in TechPoint, in Africa’s most populous country, Nigeria, Netflix probably has only around 50,000 subscribers after three years in the market. Netflix, however, is also still the only of the top international streaming platform to even show an interest in African content, with others such as Amazon, Hulu, HBO and AppleTV hardly even casting a glance in Africa’s general direction. While there are more and more successful and well-attended events such as the NEXTV CEO Africa event, along with the various DISCOP Markets, The Nigeria Film Summit, Kalasha in Kenya, and many other similar events that have sprung up, when you speak to the producers they all tell the same story.

While there may be a perceived increase in interest in African content, and there are a few high-profile deals being made, there simply is not enough money being spent by major international players on African content to drive a transformation within the industry on a global scale. Compounding the problem, outside of Francophone Africa, the deals still fall squarely within the so-called ‘African triangle’: Nigeria, South Africa and (to a lesser extent) Kenya. While French language platforms such as Cote Oust and Canal Plus will continue to support Francophone African content in a more or less consistent manner, there is still simply not enough being spent on African produced content in general to drive a global viewing trend or to drive substantial, sustainable growth within the industry. African content is yet to see anything like the excitement around K- Dramas – South Korea’s soap operas that have taken the world by storm – or the long-lived popularity of Spanish telenovelas. Despite the success

• f Nollywood content across the continent and into the diaspora, these

shows still have not captured a global imagination in the same way or in the same numbers. And yet, many people inside the industry are jumping with joy and excitement in anticipation of Africa and African content being “the next big thing” globally. However, I am still to see the evidence of this. I believe, and would argue that it is in fact, that African companies developing content for Pan-African audiences that will make the

• difference. It is the home-grown players, from IROK and SceneoneTV in

West Africa, to Showmax and iflix, in partnerships with pay and FTA platforms pay TV such as Cote Oueste, Canal + Multichoice, Azam, Startimes and others, that are the real forces of transformation. I also truly believe that the best, and possibly the only way to transform the African film industry into one that is has a global impact is through Pan-African collaborations, partnerships, co-productions, and through intensive audience development that aims to break down, rather than establish borders For content made in Africa to really achieve next-level success, all industry players need to find a way to move from the excitement and the talking at events and conferences into high gear on production and distribution with a focus on Pan-African collaboration. It is essential to harness these potential markets and find ways to create content that resonates across borders in order to create a Pan-African market within English speaking Africa in the way that Canal + is doing via a number of its partnerships with FTA channels in French speaking Africa. The concept of a Pan-African market for entertainment content is not new, and the music industry has paved the way for this kind of Pan-African marketing and distribution for decades. Historically artists such as Fela, Lucky Dube, Brenda Fassie, Miriam Makeba and others were loved across Africa. More recently, Nigeria is again leading the way in the music space– spawning African and even global superstars in Wiz Kid, Mr Eazi, Burna Boy, and others.

However, I think everyone would be hard pressed to name one Pan- African superstar from the acting space who has managed to create a name for him/herself through African films produced and distributed on the continent. In order for the African content industry to truly emerge and become a sustainable and profitable enterprise, outside of the Nollywood model, there has to be the development of a Pan-African market that leverages the benefits of agreements such as the recently ratified African Continental Free Trade Agreement. At last year’s CTIFMF, at the meeting between the NFVF, Kenya’s Film Commission, and The Nigerian Film Corporation, informal discussions began around the need for co-production treaties between African

• countries. South Africa has film co-production agreements with Canada,

Italy, Germany, France, Australia, New Zealand, The Netherlands, and the UK and not one with a single African country. Where are these discussions now? Is anyone leading this process? There appears to have been no movement in this regard. I believe that a body such as the NFVF could and should stand up and boldly take this process forward, especially in light of South Africa’s recent xenophobic violence. The time is right for African collaboration is a way to drive true growth and sustainability within the creative industries. This is even more so in light

• f the recently approved AfCFTA.

A recent conference in Rwanda held over two days in August, was focused on some of these issues; specifically looking at how tech

innovation can assist the creative industries in unpacking the value from

• AfCFTA. Many of the sessions were led by the Africa Technology and

Creative Group (ATCG), a coalition of technology and creative

• professionals. This kind of gathering is essential and the conversations

must lead to actions from the creative sector so as to truly enable a Pan- African creative environment. While this meeting was just a start, it is also notable that it took place in Rwanda, a country with a visa on arrival policy for all foreign nationals. This open policy is enabling Rwanda to position itself as an ideal destination for meetings and events of this nature, while at the same time South Africa and Nigeria play a tit-for-tat visa war with each other, making travel and collaboration virtually impossible between the two countries. Rwanda is actively seeking foreign investment particularly in the film space with the recent (and still on-going formation) of the Rwanda Film Board, an agency of the Rwanda Development Agency. South Africa could play a strategic role in assisting the RFB as it develops its policies and could create a relationship to enable co-productions between the countries. With more and more international players in the content /tech sector looking to Africa, and almost unilaterally starting with a focus on the “triangle” of Nigeria, South Africa and Kenya, I find it bewildering that these three countries have not found a way to work together in terms of production funding, audience development, and cultural outreach. These three markets together are massive and by working together to promote film production, promotion, and distribution, would be a sizable global force.

In fact, South Africa, in typical Afrophobic fashion, last year actually made it even harder for Africans to work together and co-produce. The DTi, which has long been seen as a strong and powerful benefactor for the South African film industry, in November last year amended their rules regarding monetary rebates for local spend on productions in the country for both South African and international productions. With basically no warning, the Dti removed foreign nationals, even those with permanent residency from the equation. Under the previous guidelines, talent or production staff who are permanent residents were treated the same as citizens, and their earnings would allow producers to

• btain the same rebate. Not anymore. Instead of embracing and

encouraging cross border collaboration, the Dti has effectively shut it down. With South Africa and Nigeria having the most resources available to filmmakers, it would make sense to have agreements in place where these resources could be pooled, leveraged, and amplified. As far back as 2013, the Nigerian government initiated a $17 million film fund, and according to a recent article in ThisDay newspaper, Nollywood contributes $7.2 billion the annual GDP. The government has enacted the Nigerian Film Commission bill which has set up a Film Fund that is supported by revenue from a levy charged on all film admission tickets, a portion of VAT and via funds provided directly by government. If provision could be made between the two countries to encourage co- productions, a vast pool of resources – from a financial and skills set

perspective could be unlocked. However with the recent bouts of xenophobic violence, much of it targeted against Nigerians, this type of cooperation is unlikely. In fact, apart from the visa war taking place, the violence has led to some knee-jerk reactions from some in the creative industries. While I understand the reluctance of African artists such as Burna Boy and Tiwa Savage to come and perform in South Africa, I cannot understand the Abuja International Film and AFRIFF boycotting South African entries. This cultural boycott is a short-sighted and ill-advised response, targeting a creative community that should be seen as an ally in South Africa, rather than as an adversary. This kind of behind-the-scenes government level collaboration and partnership is required, but sadly lacking and very slow to enact. Therefore it is even more incumbent upon the private sector in the creative industries, and especially those in South to take a leading role in this process. The creative sector should be proactively reaching out across borders and taking part in the many opportunities that exist to try and promote creative collaboration and to develop audiences across borders. Multichoice and its various platforms are leaders in this space and must be acknowledged for the more and more Pan-African approach they have taken over the years. This of course has not done been done solely out of altruistic motives, it is clear rather, that a Pan-African identity and programming outlook essential from a dollars and cents perspective.

With a Pan-African footprint unlike any other, Muitchoice through Dstv and Showmax are starting to develop Pan-African audiences with shows crossing borders and developing footholds in a variety of markets. Other players must follow suit, from film festivals, streaming platforms, media that cover this content, communications practitioners and anyone with a stake in the creative content space should be actively embracing a sense of Pan-Africanism and promoting a range of content to a range of markets. Not surprisingly, the rest of Africa is already better at this than we are. For many years I have experienced, as a publicist, South African media

• penly telling me that they were not interested in stories about musicians,

artists or actors from other African countries as they believed their readers / viewers were not interested. When you travel on the continent, you see much more of a mix of cultures, languages and genres of African content being promoted and shared compared to here in SA. We have already started to see this trend with Nollywood content reaching across borders, and more recently some small co-productions starting to take place with Kenyan producers looking to their West African counterparts. Kenyan actors (such as Nini Wacera) are finding roles in Nigerian productions, these include Kenyan Nollywood actress and producer

Connie Kabarry, and more recently Nairobi Diaries reality show actress Mishi Dora has made her debut in Nollywood acting. East Africa’s Azam TV also carries the African Movie Channel with predominantly Nollywood content, and Showmax has clearly identified this trend with recent outreach to encourage this kind of viewing. These are the trends that will develop into a sustainable Pan-African industry and will drive Pan-African audiences and markets. Without waiting for government interventions and much needed African co- production treaties, it is essential for the film industry to move ahead. Additionally, those in the associated creative industries, from journalists bloggers to advertising agencies and influencers, all can work towards the development of this Pan-African vision that can drive African content and stories forward on a global scale. Many in the creative industries have powerful platforms at their disposal, with large followers and audiences from across the continent and cutting through cultural, class, and demographic divisions. It is the creative industries, the home to those who can, create, inspire and imagine, that need to lead the way. Let us all step up, reach out, and be part of the journey that really can see African content take its place on a global stage.