by Thinus Ferreira
While TV and film producers in South Africa and across Africa continue to struggle to make contact with Netflix to pitch or to try and find out how the video streamer's commissioning structure and process works, Netflix has tied up more low-hanging fruit in a content deal with Nigeria's Mo Abudu and her EbonyLife outfit.
Mo Abudu, through her production company, EbonyLife, will create two Netflix Original series for the video streamer, along with Netflix-branded films and series that Netflix will licence from EbonyLife.
These projects will include the on-screen adaptations of literary works by two Nigerian authors - a series based on contemporary author, Lola Shoneyin's best-selling debut novel, The Secret Lives of Baba Segi's Wives, as well as a film adaptation of Death And The King's Horseman, a play by the author and playwright Wole Soyinka.
Dorothy Ghettuba, Netflix's Africa boss for original series, says in a statement that "We're thrilled about this first-of-its-kind partnership in Africa that will bring some of Nigeria, and Africa's most iconic storytelling to screen. We look forward to supporting Mo as she brings all these diverse Nigerian stories to the world".
Ben Amadasun, Netflix director of licensing and co-productions for Africa, says in the statement that "We believe that more people deserve to see their lives reflected on screen and for that to happen, we need to make sure there's a wide variety of content that caters to our members' diverse tastes".
"Our members around the world have been enjoying some of the licensed titles from EbonyLife like The Wedding Party, Chief Daddy, Castle & Castle and Fifty. I'm excited to continue our licensing partnership with the addition of Netflix branded films titles that will grow the variety of quality Nigerian stories on our service."
Mo Abudu, EbonyLife Media CEO, says in the statement "This unprecedented partnership is testament to the Netflix's investment in African storytelling and we at EbonyLife are grateful and excited about the opportunity to work together with the Netflix teams led by Dorothy and Ben to deliver a slate of unique and riveting stories from Nigeria over the next few years for Netflix audiences around the world."
African producers' growing frustration
While Netflix has announced some Netflix Originals for Africa, African producers and production companies - especially in South Africa, Africa's most developed TV and film market - continue to voice frustration about Netflix's Amsterdam-based approach with picking and commissioning content from the African continent.
Producers and production companies say they don't know how to make contact with Netflix's commissioning division and executives, don't know why only certain producers and production companies are favoured by the streamer for cherry-picked projects, and that they would also like to bring and pitch possible projects to Netflix as they do to local broadcasters and pay-TV channels like MultiChoice and M-Net.
Production companies and media in Nigeria and South Africa said they were surprised and shocked to find out weeks later that Ted Sarandos, Netflix chief content officer, and Dorothy Ghettuba were both in Africa and in these countries in late February 2020.
Producers and media said that they were taken aback that Netflix chose not to do general media interviews with the executives to tout its presence or to share their company's forward-looking commercial intentions, and also excluded producers from possible educational meetings or meet-and-greets about how to pitch to Netflix and how to do business with the streamer.
A month later Netflix appointed Marang Setshwaelo since March 2020 as its new publicity director for Netflix Originals for the sub-Saharan Africa region.
"Netflix looks clueless and out-of-touch, firstly when it comes to the creatives in Africa that do exist and who want to do business with it, and secondly a proper avenue for talent to reach them. If you're a company like us Netflix doesn't know about you and there's no way to get your ideas or suggestions to them that we know of," said a longtime producer.
"It's ridiculous that Netflix in Africa only reaches out to people they seem to know of and isn't making effort or helping emerging producers to know how to get in touch with them or what they want," said another independent producer.
