Thursday, November 5, 2026

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 October, 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 took 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 reprehensible, 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."

Viewers Tired of 'Endless Scheduling Uncertainty' Slam Unstable e.tv Over Latest Primetime Schedule Rejig, Start Petition to 'Stop Constant Reshuffling of Our Shows'

by Thinus Ferreira

Tired viewers, angry at being shunted all over the time schedule of e.tv are slamming the eMedia-run free-to-air broadcaster in South Africa for yet again changing its primetime line-up and have now started an online petition to rebuke e.tv for its consistently tumultuous and erratic schedule changes.

Viewers say e.tv is chasing them away with the constant line-up changes and disrupting their viewing habits - something that e.tv executives seemingly don't understand.

Viewers are telling e.tv what the broadcaster should know and what is industry knowledge: That e.tv's unending changes, because its schedule and shows are apparently not working, and are risking alienating its viewers with the constant changes.

According to viewers, e.tv is "disrupting loyal audiences, and making it difficult for people to follow the shows they love".

They say a TV channel like e.tv should stop "continually forcing viewers to adjust to new schedules".

From Monday 2 November, e.tv is yet again altering its primetime line-up - moving shows around yet again, and yet again without any explanation to viewers or the media.

Tshegofatso Kolotse, e.tv publicist, gave no explanation as to why e.tv is once again altering its primetime schedule when the channel announced that eGagasini: Waves of Change will now move to 19:00, followed by Land of Mills & Honey that now gets the 19:30 timeslot.

From 20:00, e.tv will show The Four of Us, followed by Isitha: The Enemy at 20:30 and Emzini: A Family Legacy at 21:00.

The channel changed its schedule in January this year and then again in April. In June e.tv changed its schedule again with eGagasini that started in the cancelled House of Zwide timeslot of 19:30 and The Four of Us at 20:00.

The e.tv viewer Ntando Bangani is fed up with the multiple e.tv line-up changes and has started a petition to get e.tv to stop the "constant reshuffling of our favourite shows".

"We, the viewers, are tired of e.tv constantly reshuffling its programming schedule. It feels like every time we adjust to a new schedule and get comfortable with the changes, another reshuffle is announced," Ntando Bangani explains.

"These continuous changes are frustrating, and it has not even been a year of this seemingly endless scheduling uncertainty."

"Our main demand is simple: Keep eGagasini at 19:30! Viewers have routines. Some of us arrive home from work, prepare supper, and settle down to watch our favourite shows around this time."

"The 19:30 slot works for many of us, and moving the show disrupts the viewing habits that audiences have built."

"We understand that television schedules sometimes need adjustments, but constant changes risk confusing viewers, disrupting loyal audiences, and making it difficult for people to follow the shows they love."

"We respectfully call on e.tv's programming executives to reconsider these frequent reshuffles and provide viewers with a more stable, predictable schedule. We also ask management to listen to audience feedback before making decisions that affect loyal viewers."

"Our demand are to keep eGagasini in its 19:30 slot, to stop the endless reshuffling of television programmes, to give viewers a consistent and reliable viewing schedule, and to listen to the audience before making major programming changes."

The petition notes that "A television station should build loyalty with its audience, not continually force viewers to adjust to new schedules".

Saturday, October 31, 2026

2026 MIP Africa: Cape Town Film Support Fund to Open 4th Round in Early-2027 as France Says Support of African Creativity Lies in Colabs to Ensure Stories are Made With International Reach


by Thinus Ferreira

Cape Town is currently reviewing the 2026 submissions for funding in round three of its Cape Town Film Support Fund and will open the call for applications for its fourth funding tranche early in 2027 for filmmakers who need financial help with their Cape Town set projects.

Alderman JP Smith, Cape Town's mayoral committee member for safety and security and with oversight of Film Cape Town, spoke at the opening of the 2026 MIP Africa and Fame Week trade fair in the city, and said the city's film fund supports short films, feature films, TV series, animation, gaming and even reality shows. 

"We anticipate opening the next call early in 2027 and we encourage anyone who needs support from the city, to apply with your projects," he said.

Alderman JP Smith said Cape Town is "thrilled that events like MIP Africa and Fame Week allow us to showcase our world-class locations and our talented filmmakers and producers".

"Fame Week continues to provide a platform where our local, continental and international creatives can present their work, exchange ideas, and build future collaborations. That's what's exciting: Not just how far Fame Week has come, but how much potential lies ahead."

"Each year it continues to build momentum, strengthen our industry connections and create new opportunities for the creative community to grow. As the city of Cape Town, we're very proud to be a partner and a supporter of this festival."

"Our backing of Fame Week forms part of our broader strategy to grow the creative industries and stimulate the economy."

Sophie Bel, the consul-general of the French consulate in Cape Town, said "I am particularly proud that France has been chosen as this year's destination of honour".

She said the French delegation, consisting of various creatives and executives, looks forward to meet their African counterparts and "to start new conversations".

"Culture can create economic value, employment and open up opportunities for young people. This is particularly relevant here in Africa. This continent has an extraordinary wealth of talents, languages, stories and a young population."

"The new generation of creatives and entrepreneurs are emerging, reaching increasingly connected audiences who want to relate to their own stories and identities."

"For France, supporting African creativity means recognising this talent, this expertise - not simply as sources of inspiration but as partners in their own right. It means ensuring that African voices and stories are told in their own ways."

"The challenge is ensuring that this creativity translates into sustainable businesses and this is where partnerships matter. We believe that the future of creative industries lies in collaboration between creatives, entrepreneurs and investors."

Sophie Bel noted that South Africa and France's cinematography and audiovisual co-production agreement that was renewed in 2023.

"It provides the framework for producers from both countries to develop projects together. MultiChoice's Spinners is an example of what co-operation can achieve, bringing contributions from two countries to produce a story with international reach." 

"Through our flagship programme, Création Africa, 15 laureates were selected this year from 240 applications across South Africa, Lesotho and Malawi," she said.

"I hope that the French delegation will leave Cape Town with new connections, new ideas and above all new projects."


Nomsa Philiso, executive vice president of content at Canal+ Africa, said "Investing in African storytelling means investing in the people who create it".

"It's not enough to just commission great stories; we also need to invest in the people who are going to tell those stories for years. That's why we are at Fame Week. Over the years, this market has helped bring producers and broadcasters together and you see the results firsthand."

"We had a dedicated call to pitch, and of the 1 400 submissions we have received, we will be talking to those shortlisted."


2026 MIP Africa: After Canal+'s MultiChoice Buy, French Flair and Execs Invade TV and Film Fair from Le Fantôme Opening to Panels and Networking


by Thinus Ferreira

MultiChoice's sudden addition of international short films from the Clermont-Ferrand International Short Film Festival to the line-up in August at 2026's 14th kykNET Silwerskermfees film festival in Cape Town was just the harbinger of a major French influx of influence and integration this year at the 2026 MIP Africa and Fame Week.

The massive French presence is unmistakable and unsubtle - the corporate outflow of France's Canal+ that has taken full ownership of Africa's MultiChoice.

With MultiChoice as MIP Africa's highest-tier sponsor - Super Sponsor - and its pavilion taking up the largest physical footprint this year inside the Cape Town Convention Centre (CTICC) 2, a dramatic French presence looms over this year's annual TV and film trade market.

With France taking the spotlight as the official "Destination Focus" for MIP Africa and Fame Week, a massive French delegation of over 25 audiovisual professionals, buyers and distributors are making their impact felt throughout the week.

Led by diplomatic and cultural heads, the French presence focused heavily on trying to establish co-production deals and relationships, content distribution and creative partnerships with African storytellers.

Since MultiChoice is now a Canal+ company - and the biggest sponsor of MIP Africa and Fame Week - the momentum of this new French corporate ownership is also the force behind the trade fair's strategic partnership with the French embassy in South Africa and the French Institute of South Africa (IFAS), culminating in a massive, highly visible French presence.

The French influence at the 2026 MIP Africa and Fame Week literally took centre stage.

Sophie Bel, the consul-general of the French consulate in Cape Town, officially cut the ribbon to launch the massive French pavilion while Jean Spiri, IFAS director, was heavily involved in orchestrating the Création Africa programme.

For Création Africa, the French network brought 15 curated "Création Africa" cultural businesses to fast-track their growth and connect with regional partners.

The TV5Monde executive team, including senior executives from the global French network, served as a prominent bronze sponsor, further pushing major investments into connecting French-speaking communities with Africa.

Jacques Barreau, vice president of TransPerfect Media, was a featured panellist on global storytelling, while several other Canal+ and French execs were included across panel sessions to share their insights.

Besides its expansive and dedicated French pavilion on the trade show floor, France flew in its massive delegation not just from mainland France, but also from regional territories like Réunion Island and Mayotte.

Meanwhile, IFAS organised dedicated speed-networking sessions specifically to pair African filmmakers with French financiers and producers.

This year's 2026 MIP Africa and Fame Week kicked off with a major cultural splash at Cape Town's historic Labia Theatre.

"French night" featured the African premiere of the French cinematic adaptation Le Fantôme de l'Opéra (The Phantom of the Opera), paired with a live musical performance by MAFAT808 from Réunion Island.

The opening night of the Fame Shorts Film Festival was also handed over to highlight work and storytelling from Réunion and Mayotte.

While the "Destination focus" partnership was officially brokered at a diplomatic level through the French Embassy and IFAS, it is no coincidence that it aligns with Canal+ completing its multi-billion-dollar acquisition of MultiChoice.

The corporate synergy was on full display, with MultiChoice serving as the official "Super Sponsor", while Canal+, MultiChoice and its French distribution powerhouse StudioCanal held various panel sessions throughout the week to outline and explain their newly forged, unified Pan-African commissioning ecosystem.

The official diplomatic focus gave France the stage at 2026 MIP Africa, but the Canal+ takeover of MultiChoice provided the financial and structural motivation for French buyers, creators, and distributors to arrive in Cape Town in record numbers this year.

After attending and having their own pavilions in previous years, interestingly, Primedia Broadcasting and its Primedia Studios, as well as eMedia's e.tv broadcaster were completely absent on the trade floor this year at 2026 MIP Africa.

At 2026 MIP Africa and Fame Week, 47 countries were represented - a 28% increase on 2025, with 80 buyers from 18 countries, including 7 new countries: Belgium, Finland, France, Madagascar, Réunion, Senegal, Uganda and the Chinese pavilion that had a heavily expanded presence.


Biokineticist Homba Mazaleni Joins as SABC3 Top Billing Presenter


by Thinus Ferreira

The sport scientist, biokineticist, digital content creator and sports broadcaster Homba Mazaleni is joining the SABC3 lifestyle magazine show Top Billing after she won the show's latest Top Billing presenter search, which this year took place as an online social media competition.

Homba Mazaleni is from Gonubie, East London in South Africa's Eastern Cape province and rural Dutywa.

Homba Mazaleni has a human movement science degree from the Nelson Mandela University and pursued postgraduate studies in sport science and biokinetics.

Homba Mazaleni was a top five finalist in Miss South Africa 2023.

"Top Billing is such an iconic part of South African television. It was one of those shows that made you feel like you could experience the world through your screen," Homba Mazaleni says in a statement.

"I didn't take the traditional route into presenting, so to be given the opportunity to step onto a platform that I grew up watching is an incredible full-circle moment."

Cardova Productions that produces Top Billing, says Homba Mazaleni's background in sport science, wellness and broadcasting, coupled with her interest in travel, adventure, fashion, cars and lifestyle, "makes her a natural fit for the show's celebration of extraordinary people, places and experiences".

"Equally important is her ability to make complex subjects accessible, connect with people from different walks of life and bring authenticity to the screen."

"Her appointment represents an exciting new chapter for Top Billing as the show continues to celebrate the very best of South African lifestyle, creativity, achievement and aspiration."

Patience Stevens, Cardova Productions managing director, says "Out of more than 3 000 auditions, Homba stood out for her warmth, her curiosity and her natural ability to connect with people on screen".

"Her journey reflects exactly what Top Billing is about: real South African stories and the people behind them. We can't wait for viewers to see her bring her energy and personality to the show."

The final five contestants included Homba Mazaleni, Talitha Bothma, Karen Mthethwa, Nehemiah Tjatji and Ross Marshall.

Sane Zondi, SABC channel head, says "Homba's distinct blend of biokinetics, sports expertise and passion for storytelling makes her a valuable addition to the Top Billing presenter ensemble".

"Leveraging her voice and talents we look forward to bringing Top Billing fans bespoke features and exclusive stories over the coming months. We are committed to nurturing her talent across the wider SABC network and ecosystem. We wish her an extraordinary and memorable journey ahead."