20 (Continued from Page 18) (AVoD) via YouTube outpaces Netflix in revenue across many parts of Sub-Saharan Africa. Another reason is that YouTube has a majority of local African content produced in Africa in contrast to Netflix content that offers about 30 percent of African-produced content for Africa. At the same time, FreeTV dominance, mainly by government controlled television across the continent, is ending with advertisers shedding off this medium.” Going back to MIP Africa, one LATAM distributor with extensive knowledge of the African TV market but who wished to remain anonymous, reported that “FAME Week Africa may easily be the most stylish of all the global television markets, in large part due to its inclusion of music, tech, and fashion brands, and Cape Town is an ideal location for such a hip event, at which meetings and the market floor are meticulously arranged by the event’s clearly capable organizers.” However, “the question of how valuable this market is to the greater international industry remains.” This source also added: “It seems that this still isn’t a more global or even a pan-African event. Rather, it’s the ideal way to meet young South African producers and be introduced to perhaps new ideas and/or current trends that are floating around the continent.” They concluded: “Sadly though, for the distributor looking to place international content in African homes, or even the acquisitions executive looking to transplant African content to another part of the world, with all its good intentions, this market still has not yet evolved into the right place to be.” Subsequently, FAME Week’s Hiller detailed the current television market in South Africa as it relates to MIP Africa: “M-Net is part of MultiChoice Group, which is now a Canal+ company, and we are already seeing tangible evidence of continued commitment to African content. In fact, MultiChoice Group, Canal+, and StudioCanal are partnering with FAME Week Africa this year on a dedicated Premium Drama Call for Projects, specifically seeking bold, commercially compelling African drama series. Selected producers will pitch directly to representatives from MultiChoice Group, Canal+, and StudioCanal as part of their editorial evaluation process for potential commissioning. “This is significant because it demonstrates that the combined group is not simply talking about African content; it is actively looking for new African IP and commercially viable projects. Canal+ has previously stated that its ambition with MultiChoice includes investing in local African talent and stories, commissioning ambitious African content and supporting local production companies. “We are also seeing that commitment translate into major productions. StudioCanal’s The Road Home is currently in production in South Africa. Directed by Academy Award winner Bill Condon, the musical drama stars Thabo Rametsi as Hugh Masekela, Cynthia Erivo as legendary South African vocalist Miriam ‘Mama Africa’ Makeba, and John Legend as Harry Belafonte. “This is an approximately U.S.$15.8 million production, filming in Cape Town and employing over 300 local film crew members and up to 3,500 extras. Importantly, Canal+ itself has said that the production underscores commitments made during its acquisition of MultiChoice Group. StudioCanal is financing the film alongside Flora Films and Rob Bath and will distribute it across multiple international territories. “There is also significant new capital being mobilized for African content outside the traditional broadcaster model. [The pan-African export-import bank] Afreximbank, through FEDA (Fund for Export Development in Africa) and its Creative Africa Nexus program (or CANEX), is spearheading an Africa Film Fund of up to U.S.$1 billion. The fund is designed specifically to support the production and global distribution of African films and television series and to help African filmmakers create content capable of competing internationally. “So, while traditional commissioning models may be changing, we are simultaneously seeing new financing structures, international investment, and new routes to market emerging. “The response from African producers themselves also tells an important story. At FAME Week Africa, our Micro Drama and MultiChoice Group drama opportunities generated over 300 pitches in a matter of weeks. We are continuing to expand the pitching ecosystem through additional opportunities, including the Eastern Cape Development Corp. (ECDC) Pitching Session. “For us, this is an important indicator. There is clearly no shortage of African creators, producers or commercially interesting projects. What the industry needs are stronger mechanisms connecting those projects with commissioners, buyers, distributors, financiers, and co-production partners. That is precisely the role FAME Week Africa is positioning itself to play,” concluded Hiller. “It’s the ideal way to meet young South African producers and be introduced to perhaps new ideas and/or current trends that are floating around the continent.” The ACI stand on the MIP Africa exhibition floor VIDEOAGE October 2026 Territories
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