'The plot thickens in 2026': Again costing hundreds of thousands South Africa's NFVF back at this year's Cannes party after last year's government ban with little known about the what film agency is doing there

by Thinus Ferreira

Not even a single press release or media interview done beforehand, or even after a week of ritzing at the French Riviera, but costing South African taxpayers hundreds of thousands of rands, the National Film and Video Foundation (NFVF) is back at the Cannes Film Festival this year after the government last year denied their glitzy overseas jaunt. 

After Gayton McKenzie, South Africa's minister of sports, arts and culture in 2025 denied the mismanaged film agency to travel to the French film festival, the NFVF is back in 2026 at Cannes with a large delegation, including acting NFVF CEO Onke Dumeko.

Onke Dumeko has been acting NFVF CEO for nine months at the bucking film agency, funded by tax payers and the department of sports, arts and culture - the 6th CEO figure at the organisation since March 2023.

While South African filmmakers are struggling and local artists and film industry workers are struggling just to get paid, the NFVF is overseas doing ... well, nobody really knows.

The NFVF has failed to engage with media before the 79th Cannes Film Festival trip to announce that a bunch of people would be going, didn't issue any press release, hasn't issued any press releases over the past week of the film festival, and hasn't offered any interviews over Zoom, sent information or canvassed for stories and articles to get publicity for the NFVF, filmmakers and representatives attending.

In 2024, the NFVF was accused of "glamour-tripping" overseas at film markets and festivals and the south of France, doing little in return to justify any practical return on the investment - including people like then council chairperson Tholoana Ncheke-Mahlaela, and then acting CEO Thobela Mayinje for a total of 40 people.

In 2024 the  international flights and expensive French accommodation alone cost hundreds of thousands of rands in South African taxpayers' money for people to appear at champagne-filled events on the Riviera.

In 2025, Gayton McKenzie denied the NFVF's travel to the 78th Cannes Film Festival and ordered the NFVF to stay within the NFVF's mandate that 75% of the NFVF's overall budget must be spent on actually making and funding films and content.

Now in 2026 the NFVF is back at Cannes and film industry workers in South Africa are concerned and wondering whether the NFVF is intentionally suppressing consumer and industry-facing PR and large-scale public reporting due to longering institutional fallout from previous funding scandals.

"Is the NFVF actively practicing quiet diplomacy to avoid domestic public scrutiny following a Public Protector report that exposed systematic failures in how the foundation handled and adjudicated millions in funds?" a filmmaker asks.

Another filmmaker says "Because the agency has faced continuous leadership instability and public criticism over its distribution transparency, running a loud, expensive-looking public PR campaign about a trip to the French Riviera would trigger severe domestic backlash from underfunded local artists."

A mention of the NFVF happening to be back at Cannes for the 79th Cannes Film Festival, happens to pop up on the Brand South Africa website, published 6 days ago, making it seem as if the NFVF has effectively outsourced its public relations responsibilities to Brand South Africa.

Rather than issuing standalone press releases, the press release on the Brand South Africa website appears to frame the back-to-Cannes trip as a strictly business-to-business investment mission.

What is the NFVF doing in Cannes? Who has been saying what there is what remarks and who there have done whatexactly? Who exactly is there from South Africa, and why? None of this the NFVF answered beforehand or even after a week there.

In its press release with bizarre wording, inlcuding "the plot thickens in 2026", Brand South Africa exclaims that "Building on the success of last year’s strategic groundwork established by partners of Brand South Africa: National Film and Video Foundation (NFVF), Screen International, department of sport, arts and culture, the South African Embassy in France, Wesgro and the Industrial Development and Corporation (IDC), the plot thickens in 2026 as we strengthen SA’s story, highlighting our world-class infrastructure, competitive incentives."

Brand South Africa further gushes: "At the heart of this year’s mission is a distinguished group of filmmakers, producers, and industry leaders identified as the 'Architects of the South African Screen".

"This delegation represents the diverse and multifaceted nature of the nation’s cinematic landscape, bringing together an equilibrium of veterans and fresh creatives who are reshaping how the world perceives African cinema, while leaning into the weight of both audiences."

"Key figures participating in the 2026 Cannes programme include Obett Motaung, Rosetta Mabaso, and Dian Weys," says Brand South Africa.

"The 2026 delegation also features seasoned professionals such as Mark Engels, Steven Markovitz, and Taryn Joffe, whose collective expertise in high-end production and international distribution is vital for securing the global footprints of South African projects."

"They are joined by influential voices like Mbali Mashaba, Firdoze Bulbulia, and Milton Reddy, each of whom brings a unique perspective to the South African story, focusing on everything from cultural heritage to the future of digital media. The inclusion of Babalwa Baartman and Tarina Patel further underscores the industry’s commitment to showcasing both creative depth and commercial glamour on the world stage."

Responding to a media query asking what is actually physically being done, Busisiwe Hobo, NFVF spokesperson, told TVwithThinus that on Sunday 17 May it would "host a networking and signing ceremony at the SA Pavilion at the Cannes Film Festival".

"A press release is being finalised as to what will be signed and by whom. It will be shared with all media soon."

"The South African delegation at the festival is led by the NFVF council chairperson, Leon van Nierop. 21 filmmakers were funded by the NFVF for travel to attend the festival."

"Of those 21, two were funded to participate in the spotlight project at Cannes Docs. Another group of four filmmakers were supported to participate in the producers network programme."

Asked if there were any opportunities for press to do interviews with NFVF people or attendees at Cannes to speak about what is being done there, no answer was provided.

At Cannes Maxime Saada slams 600 film professionals against Vincent Bolloré’s takeover creep, threatens Canal+ 'will no longer work with the people who signed this petition'

by Thinus Ferreira

Canal+ CEO Maxime Saada has slammed the over 600 film professionals who signed a petition voicing their concern against French media tycoon Vincent Bolloré’s growing takeover creep, threatening that Canal+ will ban them and he will make sure Canal+ "will no longer work with the people who signed this petition".

The "Time To Switch-Off Bolloré" petition was signed last week by 600 film professionals, including prominent actors and directors.

The film professionals are concerned about Canal+ that recently acquired a 34% stake in the French production, distribution and exhibition company UGC and that could swallow it up by 2028.  

Canal+ completed its corporate grab of Africa's MultiChoice in September 2025.

The public petition warns against Vincent Bolloré’s "expansion strategy" which signatories deem to "push a right-wing, reactionary agenda" in France.

According to the petition, Vincent Bolloré’s "plans go beyond mere business deals: the billionaire makes no secret of his 'civilisation project'. He is using his television channels, such as CNews and his publishing houses to push his far-right, reactionary agenda".

"So far, his ideological offensive on film content has been discreet. However, we hold no illusions: this will not last. By controlling the entire financial chain, Bolloré has complete freedom to act when the time comes. We won’t be able to say we didn't see it coming."

"The culture war that everyone talks about is not a mere clash of ideas. By leaving French cinema in the hands of a far-right billionaire, we risk not only a homogenisation of films, but a fascist takeover of our collective imagination.

"We, producers, distributors, exhibitors, filmmakers, screenwriters, technicians, cinema workers, and above all, citizens, no longer wish to remain spectators."

"Today, for our projects as much as our salaries, we all depend to varying degrees on Bolloré’s money and we want to break the insidious silence imposed on our industry."

At Canal+'s producers' lunch on Sunday at the 59th Cannes Film Festival, Maxime Saada reportedly slammed the petition and suggested that Canal+ will ban them and make sure that Canal+ ice them out with no work for them.

"I experienced this petition as an injustice towards the Canal teams who are committed to defending the independence of Canal+, and in all the diversity of its choices," Maxime Saada said.

"And as a result, I will no longer work, I no longer wish Canal+ to work with the people who signed this petition."

On Monday, in response to Maxime Saada's threats, the organisers of the petition in a new statement said "These intimidation tactics are typical of his group's majority shareholder, Vincent Bolloré".

"Our open letter, responding to the UGC acquisition, only ever singled out the aforementioned without incriminating the Canal+ teams. This threat, however, confirms our fears. Can we still believe in Canal+'s independence from the far-right billionaire, against whom it is now officially impossible to speak out?"

"The Time to Switch-Off Bolloré collective offers its unwavering support to all the signatories of the open letter, calls on labour unions to defend them, and maintains its call to action more strongly than ever.”

SABC Head of Content Lala Tuku and Other Execs Suspended as Bakwena Productions' Pimville Non-payment and Exploitation Scandal Grows

by Thinus Ferreira

The South African public broadcaster has suspended the SABC's head of content Lala Tuku as well as other executives over the growing Pimville non-payment and exploitation scandal of Bakwena Productions' failure to pay the cast and crew.

Sources told TVwithThinus on Wednesday that the SABC had suspended Lala Tuku. The names of the other executives also suspended are not known yet.

On Wednesday, TVwithThinus asked the SABC for comment about the suspension of Lala Tuku. 

The SABC said "Regarding your separate inquiry on alleged suspensions of employees, the SABC is not at liberty to discuss employer-employee issues in the public domain".

Previously, the SABC issued public statements as South Africa's public broadcaster and confirmed to the media when executives were suspended, like when former SABC COO Ian Plaatjes, former SABC COO Hlaudi Motsoeneng, former SABC CEO Frans Matlala, former SABC CEO Solly Mokoetle, former group exec for video entertainment, Merlin Naicker, and former head of sales Reggie Nxumalo were all suspended.

The SABC is reportedly trying to find out what happened with, and trying to recover R19 million that the broadcaster paid to Bakwena Productions to produce episodes of Pimville and which SABC2 is struggling to get out of the company.

Bakwena Productions, mired in a string of defaulting payments for casts and crews, is owned by actor Kagiso Modupe and the married couple Rashaka "Rush" Muofhe and Brenda Muofe.

Bakwena Productions and these producers are notorious within the industry for their serial non-payment of casts, crews and service providers and damaged the reputation of Paramount Global's BET (DStv 129) channel when it failed to pay the cast and crew of Pound for Pound.

Bakwena Productions is also embroiled in a nasty legal battle with Black Brain Pictures after its founder Mandla Ngcongwane, known as Mandla N., borrowed Bakwena Productions R4.2 million in order for Bakwena to allegedly pay casts and crews. 

The SABC, although aware that Bakwena Productions failed to pay and honour financial commitments as it should and promised, still went ahead and commissioned the production company to do Pimville for SABC2 to replace the cancelled Muvhango.

Nomsa Chabeli, SABC CEO, told parliament a year ago in May 2025 that Pimville will bring audiences back to SABC2.

Nomsa Chabeli knew that Bakwena Productions had a problem paying people and companies. 

In April 2025, Nomsa Chabeli wrote to Tsholofelo Katlego Bodlani, the DA member who is part of the portfolio committee on communications, confirming that the SABC had contracted Bakwena Productions to make Pimville.

Nomsa Chabeli acknowledged awareness of the payment allegations against Bakwena Productions and gave her assurance that the SABC has appointed a supervising producer to ensure payment compliance to the Pimville cast and crew.

Nomsa Chabeli admitted that the SABC decided to appoint Bakwena Productions, knowing there were problems.

"The SABC contracted Bakwena Productions in 2024 for the delivery of a new production, Pimville, which is set to be broadcast on SABC2," Nomsa Chabeli wrote.

"While the SABC is not directly responsible for the payment of cast and crew — as this is the responsibility of the appointed production house — it is important to state that the SABC does not condone the exploitation of creatives and holds itself accountable for ensuring that all contractual obligations are met."

"As a public institution, the SABC has an interest in ensuring that funds allocated for productions are properly utilised."

"It is therefore crucial for the corporation to engage with production houses when issues of this nature arise in order to foster healthy working relationships across the production ecosystem."

Lala Tuku, the SABC's head of local content, told City Press in November 2025, "When we heard about the [non-payment] rumours, we were open and transparent about it. We intensified our discussions. We want to see them win. We want to see young black producers win. It was about how do we handhold."

Lala Tuku further promised in November that the SABC "had put processes in place to ensure Bakwena Productions would not fall behind on payments to cast and crew".

That obviously didn't work at all.

Rashaka Muofhe told City Press in November 2025 that Bakwena Productions would not repeat past mistakes with Pimville and that "This project will not be marked by any negative impact".

In a new statement, Bakwena Productions said "Bakwena Media Group remains fully committed to the continued delivery of impactful South African storytelling".

It added that "We believe it is both irresponsible and unfair to litigate complex contractual and operational matters through the media, particularly when selective narratives, personal interpretations and internal engagements are presented without full context".

It said "What remains important is that the show continues to air, content delivery remains ongoing, and efforts continue behind the scenes to ensure stability, resolution, and the protection of the many livelihoods attached to the production ecosystem." 

The SABC told TVwithThinus that the broadcaster "is actively managing the matter through legal, operational, and stakeholder engagement processes".

The SABC says it is busy with "formal contractual processes currently underway with Bakwena Productions, ongoing engagement with the production company regarding remedial actions, contingency planning relating to continuity of production and broadcast, and direct engagement with affected cast and crew".

The Writers' Guild of South Africa (WGSA), which says that writers - including WGSA members - are among those affected and who have reported non-payment on Pimville.

"The WGSA stands in solidarity with all workers affected by the ongoing allegations of exploitation, labour abuses and non-payment surrounding the production of Pimville."

"Writers across South Africa continue to face delayed payment, non-payment, unfair contracts, lack of credit, IP abuses, excessive unpaid development work and exploitative work conditions within an industry that has normalised the devaluing of creative labour."

"The experiences reported by the affected writers on Pimville are not isolated incidents."

"They reflect broader systemic issues within the South African film and television industry, where exploitation, intimidation, labour violations and the erosion of workers' rights have become far too common."

"The WGSA calls for immediate restitution for all affected writers and urges the relevant parties to act swiftly, ethically and transparently in resolving these matters."

"We further call on writers across the country to continue documenting and reporting cases of exploitation, labour abuses and unethical practices. These stories matter. This evidence matters. Silence only protects those who continue to profit from broken systems while workers suffer." 

Tsholofelo Katlego Bodlani, the DA member who is part of the portfolio committee on communications and who raised the concerns around Bakwena Productions last year, told TVwithThinus on Thursday that "The DA notes the concerns raised about Bakwena Productions".

"The report on non-payment of actors and crew is unacceptable. Further, reports of content been paid for and not received are noted with equal concern."

"The entertainment industry is an important aspect of our society. We should do better in how we treat our artists. The DA notes that this is an operational matter, however we will submit follow-up questions to the SABC."

Jack Devnarain, chairman of the South African Guild of Actors (SAGA) told TVwithThinus on Thursday that the non-payment of the Pimville cast and crew is "a disaster that was entirely foreseeable".

"At the very outset, industry bodies raised the alarm about Bakwena Productions and their failure to honour payments to cast, crew, and background actors on Pound for Pound."

"The SABC response was to appoint a supervising producer, and SAGA was justifiably outraged by this."

"We predicted this catastrophic failure, not because we have special industry insights, but because we can spot the glaringly obvious. Weak and incompetent management will collapse a production every time."

"I have no doubt all the SABC executives involved in the decision to commission Bakwena Productions are still earning generous salaries - whether they are suspended or not. In stark contrast, the cast, crew, and background actors of Pimville will have very slim prospects of being paid." 

"The commissioning process at the SABC is deeply compromised, and those executives need to account to the industry, and to the country."

ALSO READ: After SABC Was Warned It Would Happen Again, Bakwena Productions Failed to Pay Pimville Cast and Crew With Show Set to Abruptly Disappear from SABC2 on 7 May

Canal+ Signs Multi-year Renewal with South African Rugby Union for Domestic Rugby, Springbok Women and Junior Matches to Remain on SuperSport

by Thinus Ferreira

France's Canal+ has signed a new multi-year renewal deal with SA Rugby to keep all of the South African Rugby Union's (Saru) domestic competitions, Springbok women and junior age-group matches on MultiChoice's SuperSport in sub-Saharan Africa.

It is the first sports content contract Canal+ has signed with a South African sports federation body since it took over MultiChoice in September 2025.

Neither Canal+ Africa nor Saru disclosed the terms or value of the deal, nor how many years the "multi-year" contract extension is for.

Sport content, especially rugby, remains a crucial component for Canal+'s MultiChoice to try and limit DStv cord-cutting and churn, with Canal+ trying to win back millions of DStv subscribers who have abandoned the traditional pay-TV operator over the past three years.

"As promised we are doubling down on our investment in local content, including the sports content that matters the most to people on the continent," says David Mignot, Canal+ Africa CEO, in a statement.

"In the South African market, rugby has grown into becoming a part of the national psyche – as evidenced by the national euphoria that erupted each time the Springboks won the Rugby World Cup."

Mark Alexander, Saru president, says "We are very happy to have concluded our first agreement with the MultiChoice Group and Canal+ group after a thorough and extensive series of engagements."

"They have demonstrated a shared understanding of the importance of rugby to the South African public and we trust this is the first of many such agreements."

Rian Oberholzer, SA Rugby CEO, says "Broadcasting rights are fundamental to the health and sustainability of sport in South Africa and rugby is no different".

"SuperSport has been a long-standing and trusted partner to South African rugby, and we are delighted to continue our partnership. The world of rugby and broadcasting has changed significantly since we signed our first agreement in the 1990s but it is a testimony to our mutual interests that the partnership continues to endure."

Rendani Ramovha, Canal+ Africa director for sports content in English and Portuguese-speaking Africa, says in the supplied quote, "The renewal of the domestic broadcast agreement is not just the strengthening of our long-standing partnership with SA Rugby but a victory for DStv viewers and subscribers, who have come to trust us to bring the best sports content to them in our world-class broadcast quality."

"To be able to continue this promise is a proud moment for us, and it reaffirms our commitment to the sports fan. We're grateful to our partners at SA Rugby for their collaborative spirit."

After SABC Was Warned It Would Happen Again, Bakwena Productions Failed to Pay Pimville Cast and Crew With Show Set to Abruptly Disappear from SABC2 on 7 May

by Thinus Ferreira

After the South African public broadcasters top executives were warned in advance and knew of the notorious non-payment issues of Bakwena Productions but still commissioned this production company to produce Pimville, the show will abruptly go off the air due to non-payment of its cast and crew after the last completed episode is broadcast on Thursday 7 May on SABC2.

Production of Pimville abruptly stopped after cast and crew were not paid at the end of April, similar to them not having been paid at the end of March by Bakwena Productions.

This is the latest chapter in Bakwena Productions' non-payment scandal that is once again damaging South Africa's local TV and film industry.

Bakwena Productions has been mired in a string of defaulting payments for casts and crews of several TV productions that cause schedule and programming disruption to TV channels, along with severe reputational damage to their brands.

Bakwena Productions is also embroiled in a nasty legal battle with Black Brain Pictures after its founder Mandla Ngcongwane, known as Mandla N., borrowed Bakwena Productions R4.2 million in order for Bakwena to allegedly pay casts and crews. 

Bakwena has allegedly failed to pay back this loan.

Crews and casts working for Bakwena Productions are now calling for the Special Investigating Unit (SIU) to launch a formal investigation into the notorious production company that time and again fails to pay people, while the owners live an extravagant lifestyle.

Bakwena Productions is owned by actor Kagiso Modupe and the married couple Rashaka "Rush" Muofhe and Brenda Muofe.

After doing shows like Pound4Pound for Paramount's BET channel where it failed to pay cast and crew what they were owed, it also got a contract from Netflix to produce the Losing Lerato series.

Around 500 background actors, represented by agencies like the Professional Background Artists (PBA) were allegedly left unpaid, leading to a CCMA ruling that ordered Bakwena Productions to pay and settle the outstanding money owed.

Service providers like a transport company, as well as photographers and a guest house operator who provided accommodation and changing areas for the cast and crew, also accused Bakwena Productions of not paying.

The SABC, aware that Bakwena Productions failed to pay and honour financial commitments as it should and promised, still went ahead and commissioned the production company to do Pimville for SABC2 to replace the cancelled Muvhango.

Nomsa Chabeli, SABC CEO, told parliament a year ago in May 2025 that Pimville will bring audiences back to SABC2. Now it won't because there are no further episodes for the SABC to broadcast.

Nomsa Chabeli knew that Bakwena Productions has a problem paying people and companies. In April 2025, Nomsa Chabeli wrote to Tsholofelo Katlego Bodlani, the DA member who is part of the portfolio committee on communications, confirming that the SABC had contracted Bakwena Productions to make Pimville.

Nomsa Chabeli acknowledged awareness of the payment allegations against Bakwena Productions and gave her assurance that the SABC has appointed a supervising producer to ensure payment compliance to the Pimville cast and crew.

Nomsa Chabeli admitted that the SABC decided to appoint Bakwena Productions, knowing there are problems.

"The SABC contracted Bakwena Productions in 2024 for the delivery of a new production, Pimville, which is set to be broadcast on SABC2," Nomsa Chabeli wrote.

"While the SABC is not directly responsible for the payment of cast and crew — as this is the responsibility of the appointed production house — it is important to state that the SABC does not condone the exploitation of creatives and holds itself accountable for ensuring that all contractual obligations are met."

"As a public institution, the SABC has an interest in ensuring that funds allocated for productions are properly utilised."

"It is therefore crucial for the corporation to engage with production houses when issues of this nature arise in order to foster healthy working relationships across the production ecosystem."

Last year, even the South African Background Actors Guild (SABAG) officially wrote to Nomsa Chabeli and the SABC, demanding clarity, with Louise Setabole who wrote that SABAG is "writing to formally express our deep disappointment regarding the SABC’s decision to collaborate with Bakwena Productions".

"Our concerns arise from Bakwena Productions’ history of questionable business practices, particularly their failure to fulfil financial obligations to cast, crew, and background actors. In 2024, Bakwena Productions produced Pound 4 Pound but failed to make timely payments."

"Payments were only processed three months after the project concluded, and even then, some individuals received only partial compensation. To this day, background actors remain unpaid, despite multiple attempts to resolve the issue."

Now, after just a few months on the air, the Pimville cast and crew refused to work further after they were again not paid at the end of April.

Lala Tuku, the SABC's head of local content, told City Press in November 2025, "When we heard about the [non-payment] rumours, we were open and transparent about it. We intensified our discussions. We want to see them win. We want to see young black producers win. It was about how do we handhold."

Lala Tuku further promised in November that the SABC "had put processes in place to ensure Bakwena Productions would not fall behind on payments to cast and crew".

That obviously didn't work at all and the SABC in fact did fail to prevent a recurrence.

Rashaka Muofhe told City Press in November 2025 that Bakwena Productions would not repeat past mistakes with Pimville and that "This project will not be marked by any negative impact".

Several Pimville cast and crew say they were recently held hostage in Soweto for several hours after Bakwena Productions had failed to pay homeowners the rent due for on-location shoots.

The Bakwena Productions owners couldn't be reached for comment.

On Monday 4 May, Rashaka Muofhe sent the cast and crew a Whatsapp blaming the SABC for not paying them.

"Please note production shoot has been temporarily suspended until matters of payment has been resolved with SABC."

"Please note we do apologise for any inconvenience caused and matters are being handled with the necessary urgency required and we are confident that production will soon resume."

"Further communication in terms of payment dates will be communicated once we have confirmation."

The SABC however says it has paid everything it was supposed to, to Bakwena Productions. 

In a media query, TVwithThinus asked the SABC for comment specifically about what the broadcaster makes of Bakwena Productions now doing exactly what it did in the past, by starting a production and then ending it due to non-payment.

The SABC was aware before awarding a contract to Bakwena Productions that Bakwena did the same to other TV channels, and yet the SABC chose this production company - so why did the broadcaster choose this producer knowing that it is mired in non-payment issues to casts and crews?

Responding to the media query on Wednesday, the SABC says it "became aware of concerns regarding the production company following the commissioning of Pimville and the contracting of Bakwena Productions."

"Following this, a set of risk mitigation measures were put in place. While these interventions were intended to safeguard the production and protect the SABC, recent developments indicate that further action is required."

"We remain committed to ensuring that all productions adhere to the highest standards of governance, accountability, and fair treatment of all industry professionals."

About the Pimville cast and crew battling to just get paid by Bakwena Productions, the SABC notes that the latest non-payment is Bakwena Productions' fault and not the SABC.

"The broadcaster has duly fulfilled its contractual obligations to Bakwena Productions" says the SABC and adds that the public broadcaster "is therefore up to date with payments, underscoring its commitment to the smooth running of productions".

The SABC blames Bakwena Productions for the non-payment of the cast and crew who are now suffering.

"It must be noted, that in this case, the production company concerned is in breach of the contract with the SABC," the broadcaster says.

"In response to the current situation, the SABC is actively engaging the production company to remedy the situation." The broadcaster says it is "implementing contingency plans to ensure continuity of content on SABC2" for when the final Pimville episode it has left is broadcast on 7 May.

The SABC is "Exploring alternative production solutions, should this become necessary", noting that "We have engaged the cast of Pimville today" - meaning on Wednesday 6 May.

The SABC adds that "The SABC will not be providing further detailed comment at this stage as the matter is subject to contractual and legal processes."

While the SABC, as a public broadcaster, won't be giving further detailed comment, it is once again the workers within South Africa's TV and film industry, as well as viewers losing a TV show, who are left to suffer.

CNN Founder Ted Turner Dead at 87

by Thinus Ferreira

CNN announced that Ted Turner, the creator and founder of the American TV news channel, has died. He was 87.

Ted Turner lost his battle against Lewy body dementia, which he revealed in 2018 and that is a progressive brain disorder. He died on Wednesday at home.

Ted Turner was instrumental in launching CNN on 1 June, 1980 as the world's first 24-hour TV news channel, followed by CNN International (DStv 401) in 1985.

Turner Enterprises issued a statement from the Turner family announcing and confirming Ted Turner's death.

"Ted was an intensely involved and committed leader, intrepid, fearless and always willing to back a hunch and trust his own judgement," says Mark Thompson, chairman and CEO of CNN Worldwide, in a statement.

"He was and always will be the presiding spirit of CNN. Ted is the giant on whose shoulders we stand, and we will all take a moment today to recognise him and his impact on our lives and the world."

Kenya's Appeal Court Denies Canal+'s MultiChoice Kenya from Moving Drawn-out 'Sagging Beams' Construction Case to Supreme Court

by Thinus Ferreira

Kenya's Court of Appeal has denied the application of Canal+'s MultiChoice Kenya to move the drawn-out legal case with a contractor to the country's Supreme Court.

The court case centres around the alleged structural defects by the contractor, followed by the alleged fraud committed by MultiChoice and its hired experts to doctor a report around its ordered but then dumped office block in Kileleshwa.

MultiChoice Kenya is embroiled in a long-standing row with its contractor, Cementers Limited, over the office block that was found to have serious structural flaws. 

MultiChoice contracted Cementers Ltd in 2015 but in June 2017 ended the contract after the building was declared unfit for occupation due to structural issues, leading MultiChoice to refuse full payment and eventually seek to demolish the structure.

The drama deepened when two experts involved in the project - principal architect Stanley Kebathi and Kariuki Muchemi of Interconcult Engineers Ltd - were accused of doctoring a report to help MultiChoice avoid paying the contractor. 

In March 2022 they, together with Wilson Karaba, IEL, Conapex Consulting Engineers and SK Archplans were all charged with conspiring to falsify a structural integrity report in order to defraud, after Cementers went to court alleging MultiChoice's report was prejudiciously altered so that MultiChoice could skip payment.

These experts lost a court bid in early 2025 to stop their own criminal prosecution.

In January 2026 MultiChoice was granted leave to take its case to Kenya's Supreme Court after the Court of Appeal had previously blocked certain moves.

On 30 April, the three-judge Court of Appeal however, declined MultiChoice Kenya's request to further escalate specific parts of this KSh 895 million (R115 million) dispute to the Supreme Court, ruling that the company had not identified a unique point of law or public interest to justify the highest court's intervention at this stage.

A parallel attempt by the contractor to use the Environment and Land Court was dismissed because the court ruled it lacked jurisdiction; the dispute is legally classified as a commercial contract matter rather than a land ownership issue.

ALSO READ: In a bitter court battle, the sagging beams building case drags on as MultiChoice Kenya wants to get rid of (but can't) the defective Nairobi building from its fired concrete contractor that was supposed to be the pay-TV operator's new Kenya headquarters.

Filmmakers Can Apply for Cape Town's Film Support Fund for 2026 Productions in the City

by Thinus Ferreira

The City of Cape Town's Film Office has again opened applications for its Film Support Fund, for 2026, to provide financial support for various film projects done in Cape Town.

This is the third year that Film Cape Town will fund various productions in and around the city of Cape Town since the fund started in 2024.

Filmmakers have until 31 May 2026 to apply for funding with submissions that must be for productions that will be completed in the 2026/2027 financial year, meaning between 1 July 2026 and 30 June 2027.

The aim of Cape Town's Film Support Fund is to support productions that help to drive local economic development and create job opportunities within the film and media sector and that will build and strengthen Cape Town’s emerging talent base through upskilling and training.

"This is the third call of the film fund and marks a significant step in the city’s continued commitment to strengthening Cape Town’s film and media industry," says Alderman JP Smith, the mayoral committee member for safety and security.

"Building on the success of previous rounds, we are proud to further support a sector that continues to play a vital role in attracting investment and strengthening Cape Town's position as a leading global production hub."

"The strong performance of last year's funded projects is a testament to the impact of this initiative, with productions gaining both local and international traction. This includes Wild Waterfront – a finalist at the 2026 International Tourism Film Festival Africa taking place in June."

"We look forward to supporting a new wave of projects that will continue to elevate Cape Town's presence."

The film fund is able to evaluate applications that can show how it will stimulate local economic growth and create jobs within Cape Town and that will highlight and promote the unique aspects of the city.

Projects must support and upskill emerging talent in the film and media sector within Cape Town, drive sustainability, diversity, and inclusion within the local film and media landscape, and also portray Cape Town's rich history and cultural heritage authentically.

Furthermore, projects must have a capacity to attract direct investment into Cape Town.

According to the fund, film projects that can be considered for funding include production, post-production funding for short films, feature films such as animation, interactive gaming, live-action music videos, commercials, and reality TV series.

Ineligible projects and exclusions are adult content, training videos or corporate videos, current affairs or news shows, as well as buying of equipment/assets. 

The Film Support application form, Project Plan form and the documents checklist is on the City of Cape Town's website and completed applications must be emailed to Film.Fund@capetown.gov.za before 31 May 2026.

NFVF Asks Andani Africa to Do Impact Assessment Survey About Economic Contribution of South Africa's Film and TV Industry

by Thinus Ferreira

South Africa's National Film and Video Foundation (NFVF) has commissioned Andani Africa to do an impact assessment survey to determine the economic contribution that South Africa's film and TV industry is making to the country.

The survey is open to production companies, broadcasters, distributors, film facilities, freelancers, animators, and service providers, for instance make-up artists, across all nine provinces of South Africa who can complete the online survey.

Although struggling immensely, South Africa's film and TV sector currently generates between R2.50 to R5.65 as a return on the investment for every R1 spend within the sector which remains an engine for employment.

South Africa's TV and film industry remains furious and animated and organised with collective action over the collapse of the South African government's film rebate system.

The department of trade, industry and competition (DTIC) remains mired in incentive scheme paralysis for over three years and counting and has not held any adjudication meetings to approve rebates since late 2023.

This has created a massive backlog of unapproved projects and unpaid dues to producers, exceeding R660 million that was promised but not paid.

The DTIC's collapse and the government's silence to the industry has directly led to a loss of investor confidence in South Africa's film sector and because of these delays, international productions have moved to competing countries, causing the sector to shrink by an estimated 50% since its 2022 peak.

Unilateral changes by the DTIC now require producers to cover all costs upfront, creating a major financial barrier for smaller or emerging filmmakers.

The NFVF's Andani Africa survey can be found and completed here online.