Thursday, November 5, 2026

Canal+ Dumps Africa Magic Family Channel on DStv Replaced by Africa Magic+

by Thinus Ferreira

Canal+'s MultiChoice and M-Net have dumped the Africa Magic Family channel after 12 years on 5 November 2026, replacing it with Africa Magic+.

Africa Magic Family, packaged by M-Net, spent more than a decade on DStv, broadcasting family-focused Nollywood dramas and series for a predominantly Nigerian pay-TV audience.

Like in South Africa, where Mzansi Wethu has been replaced with the Wethu+ channel and moved to the DStv Starter package, Africa Magic+ will fulfil the same role and has also been moved to the new DStv Starter package.

Canal+, MultiChoice and M-Net have strategically moved Africa Magic+ to its lower-priced tiers to expand its audience reach.

LIV Golf Collapses and is Done as Saudi Arabia's Sports-washing Leaves Canal+'s SuperSport with Egg on the Face


by Thinus Ferreira

Saudi Arabia's LIV Golf sports-washing, which was publicised and showcased by Canal+'s SuperSport without qualms, has finally fully imploded and is shutting down internationally, meaning all operations and events in South Africa are officially cancelled.

At a bankruptcy court hearing on Thursday, the league's legal team officially confirmed that they have abandoned all restructuring plans, known as "LIV 2.0" and that LIV Golf is shutting down with a total liquidation and wind-down of the business starting Monday.

LIV Golf initially said that they intended to continue in South Africa - but that was just some temporary plan that has now completely fallen apart.

When the league originally filed for Chapter 11 bankruptcy in September 2026 in the United States, LIV Golf CEO Scott O'Neil released an open letter explicitly naming South Africa, Australia, and Asia as the "vital, highly profitable international markets" that they fully intended to preserve and build around for the proposed "LIV 2.0" relaunch in 2027.

But that all failed.

In March 2026, the league made its historic African debut by hosting LIV Golf South Africa at The Club at Steyn City in Johannesburg.

MultiChoice and SuperSport gleefully went along, although human rights organisations have repeatedly noted and explained at length how Saudi Arabia was using LIV Golf to try and deflect from Saudi Arabia's abhorrent behaviour.

In 2018, journalist Jamal Khashoggi was murdered by a 15-member team of Saudi assassins with the CIA that found that his killing was ordered and approved by Saudi crown prince Mohammed bin Salman.

LIV Golf created Stinger GC as a South African team, which was later rebranded as Southern Guards GC because of trademark complications.

The criticism regarding SuperSport's partnership with LIV Golf in South Africa mirrors the broader global debate over sports-washing. 

Media analysts, human rights advocates, and critics have argued that by promoting and broadcasting the league, SuperSport effectively and shamelessly served as the PR vehicle for Saudi Arabia's controversial state-backed project.

Through showcasing LIV Golf as some kind of a premier, high-energy entertainment spectacle, SuperSport joined in efforts of sportswashing on MultiChoice's DStv by diverting public attention away Saudi Arabia's from human rights abuses. 

Instead of associating the league's financial backer, the Saudi Public Investment Fund, with issues like the murder of Jamal Khashoggi or crackdowns on dissent, African audiences watching DStv were presented with a type of "celebratory" broadcast.

Unlike several major Western networks that hesitated to broadcast LIV Golf due to ethical concerns and public backlash, SuperSport shamelessly went "all-in" with LIV Golf.

SuperSport prioritised ratings and "new content", as well as media rights over corporate social responsibility, signalling that financial gain took precedence over taking a stand against autocratic regimes using sport for reputation management.

Hilariously, LIV Golf CEO Scott O'Neil and South Africa's sports minister Gayton McKenzie held a joint press conference promising that LIV Golf was "never leaving this continent again". 

There was also talk of a so-called "2027 relaunch" with a 4-day tournament scheduled for April 2027, that would be even "bigger, better and bolder", and with promises to expand with music, concerts, "fan zones" and to host future tournaments in other venues across South Africa by 2029.

Gayton McKenzie even paid R82 million in taxpayer money to pay LIV Golf Events for the tournament licence fee.

The shutdown is an absolute humiliation, particularly for South Africa and SuperSport.

SuperSport's uncritical and shameless LIV Golf promotion and its league has now ended in corporate embarrassment.

SuperSport wasn't just a passive broadcaster - it acted as a primary public relations engine for the Saudi state's reputation-cleansing efforts in Africa.

"As the broadcast partner to Africa’s first-ever LIV Golf tournament, LIV Golf South Africa, SuperSport has gone out to match the innovation that LIV Golf has brought to the sport of golf,” said Rendani Ramovha, Canal+ director for sports content in English and Portuguese-speaking Africa, still enthused in a prepared press statement in March.

Even after Saudi Arabia's Public Investment Fund pulled out in April, SuperSport continued to report on and implicitly back the narrative that the league would survive through "LIV 2.0". 

By carrying water for the idea that a downsized, equity-based model would keep the breakaway circuit alive, the bankruptcy leaves SuperSport looking completely out of touch with the reality of the imploded league's toxic financials and players who jumped ship over pure greed and now try to return to the PGA.

Now SuperSport's "first-ever" LIV Golf tournament in South Africa has turned into "last-ever" - with egg on the face.

You Might Never Have Heard of MIFF - not the Melbourne Film Festival but the Mpumalanga International Film Festival Running Since 2013 with a Conservation Cinema Focus


by Thinus Ferreira

Well, this is embarrassing for somebody covering South Africa's film and TV industry: There exists a film festival I've never, and I mean, never heard of, but it's been up and running since 2013: The Mpumalanga International Film Festival, known as MIFF.

Obviously, there are other MIFFs - the Melbourne International Film Festival in Australia, as well as the Mumbai International Film Festival in India - but MIFF in the city of Mbombela in South Africa, taking place in August every year, started in 2013.

I've not known about MIFF, never heard anybody speak a word about it and I've been around since the days when Sithengi was the premier film and TV trade market and festival in Africa and took place in Cape Town until it collapsed in 2006.

I've now done my research, and the Mpumalanga International Film Festival in South Africa was founded by filmmaker and director Sifiso Nkosinathi Nobela.

He launched MIFF to try and provide some type of independent, self-sustaining platform for local South African filmmakers and storytellers without having to leave Mpumalanga as a province.

MIFF apparently sets itself apart from traditional South African film festivals and trade markets through its focus on wildlife and "Conservation Cinema"

Given its location in Mpumalanga, home to the Big Five and the Blyde River Canyon, MIFF explicitly positions itself as Africa's premier wildlife and biodiversity filmmaking destination.

Unlike traditional film festivals held in convention centres or city theatres, MIFF hosts unique "wildlife cinema" screenings and its dedicated WildMarket directly inside the Kruger National Park at Skukuza.

It also features a dedicated Biodiversity Storytelling Incubation programme, specifically designed to support filmmakers doing work that highlights subjects like climate, landscapes, and humanity's relationship with the natural world.

At last week's 2026 MIP Africa and Fame Week in Cape Town, MIFF had a stand inside the CTICC2 and when I walked past and noticed it, I went to it and took a pamphlet and asked who does the PR or media liaison for MIFF.

Hopefully it's a film festival I'll be able to cover in future. Fom my side, I will definitely try, since I now know that it takes place in August every year. 

I think MIFF can do a lot more to reach out, and to start building relationships to get to know the various journalists and trade media and platforms covering South Africa's film and TV industry and film festival circuit. 

MIFF, as something from Mpumalanga and a film festival that definitely has a bespoke and important focal point - conservation cinema and wildlife filmmaking - could do with much more exposure and also deserves more coverage.

Why Southern African Countries Get 5 Rejigged DStv Packages with Premium Changed to Ultimate and Countries in West Africa and East Africa Only Get 4 Including Ultimate


by Thinus Ferreira

MultiChoice Namibia is also restructuring its various DStv packages and will have the Movies & Series package like in South Africa - which is left out in the rest of Africa - but with the top-end package DStv Premium getting a name change to DStv Ultimate.

Broadly, Canal+ and MultiChoice's restructuring and rebranding of its DStv bouquets will now have 3 permutations across sub-Saharan Africa:

Firstly, there is DStv Starter, Select, Sports, Movies & Series and Premium in South Africa - a country that will now have 5 packages, and the word "Premium" retained for the top end and most expensive bouquet.

Secondly, there is Starter, Select, Sports and Ultimate in markets like East Africa and West Africa, where Canal+ has reduced the bouquet offering to 4, with no Movies & Series package, and the Premium package name changed to Ultimate.

Thirdly, there are a few countries in Southern Africa getting the hybrid blend of both and 5 stratified packages like in South Africa but with one name change.

Namibia, Botswana, Zambia, Zimbabwe, Malawi, eSwatini and Lesotho are all getting Starter, Select, Sports, Movies & Series but with Premium renamed to Ultimate.

It can also be explained this way: Only South Africa as a country retains DStv Premium, while Premium is changed to DStv Ultimate everywhere outside of South Africa.

Only Southern African countries, outside of South Africa, get 5 DStv packages that include the option of the Movies & Series bouquet, with East and West African countries that don't get the Movies & Series option.

Namibia switched to the new DStv packages on 5 November.

On Wednesday in Windhoek, Roger Gertze, MultiChoice Namibia CEO, at that country's media event to announce the DStv package changes, confirmed that DStv subscribers in Namibia will get Starter, Select, Sports, Movies & Series and Ultimate, which he said "would give customers more control over the content they love most".

In response to a media query as to why there is differentiation in East Africa, West Africa and Southern Africa, and then also South Africa in the DStv packages after the restructuring, Canal+ Africa says MultiChoice Pty Ltd. runs the DStv packages in South Africa, while Canal+ Africa does it outside of South Africa.

"The DStv package line-up may differ across markets, as package structures and naming are tailored to each region. In South Africa, package decisions are led by MultiChoice (Pty) Ltd (LicenceCo), while in the rest of sub-Saharan Africa, they are led by Canal+".

"As a result, the number of packages, the content included in each package and package names may vary by market, taking into account factors such as content rights, customer needs, regulatory requirements and technology readiness."


9th Joburg Film Festival Opens Entries for 2027's Young Voices Short Film Competition, Adds New MultiChoice Emerging Filmmaker Award


by Thinus Ferreira

Next year's 9th Joburg Film Festival has opened entries for its short film competition, which forms part of its Young Voices youth development programme, with the festival that is adding the MultiChoice Emerging Filmmaker Award.

The theme of 2027's short film competition is "The next vision", with the festival that says the theme wants filmmakers to "challenge perspectives, question assumptions and imagine new possibilities. Explore identity, community, culture or the future you want to see. Experiment with form, reimagine a familiar story or bring an untold experience to the screen".

Fanney Tsimong, the JFF's film traffic and youth development manager, says "Young Voices is more than a film competition. It is a platform for emerging filmmakers to showcase their talent, share their perspectives and take the next step in their filmmaking journey".

"Whether you are using a smartphone or professional equipment, this is your opportunity to bring your vision to life. Your story matters, and your perspective has a place in African cinema."

The Young Voices Award, given by the Joburg Film Festival jurors to the overall competition winner in recognition of creative merit and artistic achievement, includes a range of prizes, including a camera, a mentorship opportunity and a study bursary at an accredited institution of the winner's choice for a film-related course or programme.

The film festival and Young Voices is also adding the new MultiChoice Emerging Filmmaker Award.

This new award, sponsored by MultiChoice, has a study bursary as the prize.

Entrants must opt in to be considered for this award, and the JFF says that to qualify, a submission must meet the creative and artistic requirements of the Young Voices Competition, as well as MultiChoice's additional eligibility criteria, and that of a study bursary.

Entries close on 19 February 2028 and young filmmakers must create an original short film of up to 5 minutes, including credits to "show us the world through your lens", It can be shot on a phone or camera, and can be in the genres of drama, documentary, animation, experimental cinema or essay film.

Work should be submitted in HD, in MP4 or MOV format through the festival's official channels.


8th Hluma Film Festival set for Pietermaritzburg with 16 Films

by Thinus Ferreira

The Hluma Film Festival in South Africa's KwaZulu-Natal province will take place from 14 November in Pietermaritzburg with a slate of 16 films and seven panel discussions.

The film festival, previously known as the uMgungundlovu Film Festival, will take place on 14 and 15 November at the Voortrekker Museum and Bessie Head Library under this year's theme of "Where truth is planted, our lens finds the light".

As with South Africa's other film festivals, the Hluma Film Festival focuses on "African stories while creating opportunities for filmmakers, students, industry professionals and the public to engage with the people and ideas shaping South Africa's film industry, as well as the challenges it faces".

Portia Ndudane, Hluma Film Festival director, says "Our stories deserve to be seen, heard and experienced".

"Film connects people across generations, preserves our truths and opens conversations that might otherwise remain unheard. The Hluma Film Festival is committed to nurturing emerging storytellers and creating opportunities for our communities to participate in the film industry".

The Hluma Film Festival opens on 14 November with Ikhaya Lami starring Sibusiso Sithole, Zamuntu Khoza, Mnqobi Kunene, Thandeka Ndenza, Phindi Phewa and Bhekani Shabalala and is directed by KwaZulu-Natal filmmaker Ayanda Makhanya.

The festival closes on 15 November with 6 Queens and 6 Kings, directed by Limpopo filmmaker Molatelo Bossman.

The 16 films which are part of this year's line-up include Ikhaya Lami (directed by Ayanda Makhanya), Tomasi (directed by Portia Mncwabe), Hot Plate (directed by Shadie Mphaphuli), Mayfair (directed by Neo Leonardo Mokoena), The Deep Well (directed by Alphonse Menyo), Polyamorous US (directed by Mantile Malehu M), Zebra Crossing (directed by James Robert Whitelaw), Remember Their Names (directed by Sihle Hlophe), Kedibonye (directed by Itumeleng Durvie Morake), Nongqawuse (directed by Sipho Dee Zena), The Spring (directed by Teodoro Francesco Liberto), Beyond Memory (directed by Nhlanhla Sphilele Thusini), Enclosed (directed by Fulufhelo Nemalili), Echoes of the Cursed Son (directed by Sbongikuhle Kunene), Letter to Society (produced by O’larato Masalesa), as well as 6 Queens and 6 Kings, directed by Molatelo Bossman.

Panel discussions at the Hluma Film Festival range from sessions covering industry funding and accessing industry support and opportunities, to looking at female leadership and representation in film, production pressures, new pathways for film distribution, and also a panel session looking at the mental health and emotional realities of acting.

South Africa's Film and Publication Board bans Hebrews to Negroes as First Film in 13 Years to be Refused Classification


by Thinus Ferreira

South Africa's Film and Publication Board (FPB) has refused classification for the film Hebrews to Negroes: Wake Up Black America, effectively banning the first film in the country in 13 years.

The FPB last banned a film, Of Good Report in 2013, which was later overturned.

After a 3-year process, the FPB has now refused classification for Hebrews to Begroes: Wake Up Black America, which makes it illegal for the film to be distributed or to be owned in South Africa.

The FPB says the film advocates "hatred based on an identifiable group characteristic and constitutes incitement to cause harm".

The FPB notes that the film "contains Holocaust denial and asserts the Holocaust to be a 'falsehood' - something that is direct advocacy of hatred based on identifiable group characteristics, serving to trivialise immense suffering and perpetuate antisemitism".

The FPB further notes that the "explicit text comparing Jews to 'parasites among nations' is an egregious act of dehumanisation/ This language has a well-documented history of justifying discrimination, violence, and genocide - clearly demonstrating hatred".

According to the FPB, the film promotes antisemitic views, promotes antisemitic tropes, and is filled with prejudicial language like "the frequent and unmitigated use of racial slurs", which include the n-, k- and c-words, which are hate speech.

"The content, as presented, incited hatred and spreads dangerous information," the FPB notes, "failing to provide the objective and informed perspective required for a bona fide documentary".

Anybody who broadcasts, distributes or exhibits the film in public in South Africa, offers it for sale or hire or advertises it for exhibition faces a R500 000 fine or 5-year prison sentence.

The South African Jewish Board of Deputies (SAJBD), in a statement, welcomed the banning of Hebrews to Negroes: Wake Up Black America.

"The SAJBD is encouraged by the strong message sent by the FBP that the right to freedom of expression does not amount to a license to defame and propagate hatred against an entire group of people simply because of who they are and what they believe," the SAJBD says in the statement.

"This ruling safeguards the fundamental rights of all citizens of this country."

"In refusing classification to this offensive film, the FPB has sent a strong message that the right to freedom of expression does not amount to a license to defame and propagate hatred against an entire group of people simply because of who they are and what they believe.

"The SAJBD is encouraged to see how the various regulatory systems and institutions that are in place in South Africa to ensure that freedom of speech is not allowed to degenerate into hate speech are successfully fulfilling their mandate, and how, in so doing, they are helping to safeguard the fundamental right to dignity and equality of all citizens of our country."

The film was first screened in South Africa, without getting any classification, in June 2023 in a theatre in Soweto.

It was then that the SAJBD approached the FPB to ask for classification of the film and that it amounted to the unlawful incitement of hatred based on religion and ethnicity.

Hebrews to Negroes: Wake Up Black America, produced, written and directed by Ronald Dalton Jr. in 2018, is based on his 2014 book series. 

Hisense SA had a 30th Anniversary Customer Conference it Didn't Tell the Media is Happening - Then Sends a Press Release a Week Later for Coverage


by Thinus Ferreira

Hisense South Africa held a 30th Anniversary Customer Conference in Cape Town on 29 October, didn't tell media it would be happening, but a whole week later, on Thursday 5 November, belatedly sent out a press release that it took place and that Hisense SA now presumably wants media to copy-and-paste and republish.

Media were in Cape Town last week for the 2026 MIP Africa and Fame Week TV market that took place in the CTICC2, including the various pavilions, days-long panel sessions and side events that marked the week.


Trade and other media who attended could easily have structured news diaries to include and give coverage to Hisense SA's event, or at the very least have been informed that the company is doing something.

Unbeknownst to the media however, due to a lack of communication or any notification beforehand from Hisense SA, the company planned and held what it called a "30th Anniversary Customer Conference" on Thursday 29 October.

People who attended included Luna Nortje, Hisense SA deputy general manager; Jason Ou, president of Hisense MEA; Wang Xiaodai, deputy Consul General of the Chinese Embassy and 120 people, including reps from retail stores like Massmart, Hirsch's, Tafelberg and Atlas.

People from 8 other countries besides South Africa were also brought to the event, which was also attended by government officials and Chinese bankers in South Africa.

Unfortunately nothing of what was actually said or shown at the Hisense SA 30th Anniversary Customer Conference is known; there are no transcripts and it's not possible to do or run any interviews or any actual independent coverage since none were set up or organised beforehand.


On Thursday afternoon, 5 November, Hisense SA's PR agency Aura sent out a general press mailer for the first time, noting that Hisense SA had a 30th Anniversary Customer Conference - a week after it happened.

It's unclear how Hisense South Africa or its PR people think this is effective, proper or suitable behaviour or best-practice media liaison - or if Hisense SA now thinks media are going to copy and paste and republish a press release, a week late, of an event media they were not even told about or invited to. 

Bizarrely, Hisense SA apparently now wants coverage - hence a week-old press release that is sent out - of something it did, but where it didn't actually want the media at last week, or to know about, or saw as important enough in media relations to, at the very least, just say would be taking place.

Now, like having a wedding, not telling people about it, and afterwards wanting a wedding gift, Hisense South Africa - that didn't want to communicate or deal with the media - after a week, sends out a press release about an event it had.

Does Hisense South Africa now expect coverage in the form of no original reporting or coverage but for media to make the effort to simply just republish a press release and hand-out photos?

Hisense SA and whoever interacts with media in South Africa didn't want media at Hisense South Africa's 30th event in Cape Town - they now presumably just want media to run its press release a week later. 

It's absolutely fine not to have, or not to invite media to your event - that's anybody and any company and any organisation's choice and prerogative. 

It's a whole other level of bad and unprofessionalism to afterwards send out a press release or press statement to media to now "showcase" that you had an event - that you didn't beforehand even just bothered to say would take place.

The blindsiding is extremely damaging and negative: How do media henceforth trust that when there's news from your company, that you are, or will be able to, keep them in the loop when it's self-evident that Hisense SA isn't doing so?

Then, belatedly and a week later, a company - in this case Hisense SA - now suddenly wants "coverage" - but "coverage" in the form of rerunning a press release (since media can't now go back into the past to do any type of original reporting on it).

How do you send out a press release a week after an event, then expect media - who weren't told about it - to now blindly "celebrate" something and give coverage for something they were intentionally locked out of?

Hisense SA's behaviour is off-putting, clueless and daft, completely ridiculous, media value-destroying and, above all, media relationship destructive.


Monday, November 2, 2026

South African Film Biz Slams Incompetent Government as Talks to Fix Broken Rebate System Collapse for Third Time, Demands Removal of Nelly Molokoane and Calls on President Cyril Ramaphosa to Urgently Intervene


by Thinus Ferreira

South Africa's film and TV industry is furious with the government and its trade, industry and competition minister Parks Tau, with talks to try and fix the country's broken film rebate system that has collapsed for a third time and the biz coalition now demanding that film incentive programme boss Nelly Molokoane is fired.

The country's film industry is now also calling on South African president Cyril Ramaphosa to urgently intervene, saying the entire situation is an untenable crisis.

Because of its shockingly poor leadership, the department of trade, industry and competition (DTIC) is once again on track to vastly underspend its allocated film support allocation of this financial year.

The local film industry is vowing a new month-long round of public protest set to start across South Africa from 28 January 2027, as the incompetent, aggressive and recalcitrant Nelly Molokoane remains in place as the head of the government department's imploded and wayward film and television incentive unit.

South Africa's entire film industry wants Nelly Molokoane fired but Parks Tau has so far refused to remove her, despite apparently not doing her job.

With a massive backlog in payouts totalling hundreds of millions of rand, as well as a backlog in working and approving applications for the South African government's film incentive programme, Parks Tau, Nelly Molokoane and others in the government department have inflicted massive damage on South Africa as an option as an international filming destination, as well as on local production companies.

South Africa introduced the film and television incentive in 2004. The last adjudication committee to approve new applications before 1 October 2026 sat in March 2024 - almost three years ago.

The Save SA Film and TV Jobs Coalition confirms that talks have yet again broken down with the DTIC - for the third time - with the government simply not responding on any of the promises the department andNelly Molokoane have made.

The Save SA Film and TV Jobs Coalition was founded and is led by the Independent Producers Organisation (IPO) and brings together 18 industry bodies in South Africa, including and representing producers, writers, performers, crew, editors, cinematographers, stunt performers, animation, documentary, post-production and finishing, talent management, festivals and markets.

The coalition;s members are Animation SA (ASA), Cinegear, Creative 20, the Documentary Filmmakers Association (DFA), Independent Directors Association Africa (IDAA), Independent Producers Organisation (IPO), Personal Managers Association (PMA), South African Background Actors Guild (SABAG), South African Finishing Artists and Imaging Technicians (SAFAITS), South African Guild of Actors (SAGA), South African Guild of Editors (SAGE), South African Performing Artists Managers Association (SAPAMA), South African Screen Federation (SASFED), South African Society of Cinematographers (SASC), the South African Stunts Association (SASA), the Soweto Film Festival, the Soweto Film Market, as well as the Writers Guild of South Africa (WGSA).

This coalition wrote to Parks Tau on 22 October to place it on record that talks have broken down again, and gave the DTIC 7 days to fix the problem.

"That period has now expired without a response from Parks Tau," the coalition reveals that will now report the issue directly to the portfolio committee on trade, industry and competition in South Africa's parliament.

The coalition is also calling on South Africa's president Cyril Ramaphosa directly, to invene in this massive crisis.

On 10 August, days before the industry's second appearance before the parliamentary committee, the DTIC and the coalition signed the DTIC's new Film and Television Incentive Negotiation Framework and Heads of Agreement.

This new agreement was supposed to be the start of a new chapter of the DTIC and South Africa's film biz working together to sort out the massive backlog and to get the millions paid that is owed to producers, as well as to restart the incentive programme and to approve new applications.

So bad has the DTIC been that it blatantly flouted what it promised to do with the new agreement. The administration protocols for the current guidelines have not been agreed jointly, the working groups to develop the new guidelines have no started and the deadline of 30 October 2026 to complete the new set of guidelines came and went.

"Multiple letters from the coalition to Parks Tau have gone unanswered this year," the coalition says.

"Earlier last month, on 7 October 2026, the coalition wrote, warning that the engagement was at credible risk of breaking down, and offered Parks Tau the opportunity to intervene before it did."

"That letter went unanswered, as did the follow-ups to it."

The coalition explains that on 22 October 2026, it notified Parks Tau "that the engagement had broken down and afforded the DTIC 7 days in which to remedy the position. That letter has also gone unanswered."

"The industry is left to ask how a working relationship with the DTIC is to be maintained when its correspondence is not responded to."

"It is a continued pattern of industry input going unanswered, and it demonstrates clearly that there remains a problem within the DTIC that the industry has repeatedly raised."

The coalition says it is not just concerned about the DTIC's lack of keeping its side of the agreement.

"A government department that puts its signature to an agreement must be expected to stand by it. Where it does not, nothing agreed can be relied upon."

"This is not the first time an undertaking given by the DTIC to the industry has not been adhered to."

The coalition also notes that "At the first working group after the parliamentary engagement, on 21 August 2026, the DTIC's deputy director-general told the meeting that the department wanted progress, that it would not allow any organisation to delay or derail the discussions, and that the objective was a single joint report to parliament".

"He pledged honesty and frankness, and said there would be no circumstances where things are hidden."

The coalition says it will now "report to parliament separately and how the DTIC is handling the current administrative backlog remains largely unknown. This is another clear example where the DTIC does not stand by what it says".

"The Coalition will not accept anything less than a strong, reliable incentive system that the industry and the department have agreed on together."

According to the research from the Save SA Film and TV Jobs Coalition, the DTIC will once again underspend its allocation for the film and TV incentive this financial year.

"That is the consequence of poor leadership of the incentive programme and of a poor understanding, within the DTIC of what the incentive programme is and how it should work, taking into account the realities of production. The Coalition will demand accountability for this," it notes.

The coalition now calls on South African president Cyril Ramaphosa to "intervene directly, and does so only because the position has become untenable".

"We are asking the presidency to step in because it is no longer tenable that a department lacks both the capability and, more importantly, the willingness to resolve what is, in most respects, a normal administrative matter."

The coalition is fed up with Nelly Molokoane.

"Nelly Molokoane remains the head of the film and television incentive unit, and hence the unilateral and obstructive approach the DTIC has taken in dealing with the crisis continues," the coalition says.

"The Coalition has made clear to the DTIC that Nelly Molokoane will not be accepted by the industry as leading this incentive any further. This is a red line for the industry."

"The Coalition has, again, called for her removal from the Film Unit, and from any further decision-making on the incentive, a position adopted by resolution of its members."

"Yet the DTIC has failed to hold her accountable for the past and continuing failures in the management of the incentive programme."

The coalition will now again do public protests on 28 January to 27 February 2027, similar to earlier this year because the coalition says the DTIC "has done very little to resolve this crisis".

"The Coalition is calling for accountability, and for action to be taken swiftly. The action will not end until the DTIC resolves this matter on a basis that works for the industry, for the DTIC and for the country."

"Without urgent and decisive intervention, the damage already caused by the ineffective administration of the Film and Television Production Incentive will only deepen, placing at risk an industry that contributes significantly to South Africa's economy and the livelihoods of the thousands who depend on it," the coalition says.

"The problem has never been the incentive itself - it is what has been done to the running of it. Without corrective action now, the consequences may prove irreversible, leaving an entire sector, its workforce and its considerable economic potential out in the cold."