In the year that South Africa celebrates 10 years of democracy, its film industry plays host to scores of international filmmakers who pour into the country. Foreigners are finally taking advantage of the wonderful locations, our climate, our people and funding opportunities.
Films such as Country of my Skull, Hotel Rwanda, Ask the Dust and Lord of War have been made in this country, creating jobs, facilitating skills transfers and bringing associated benefits. This is a result of decisions taken by bodies such as the National Film and Video Foundation, the Industrial Development Corporation and Rand Merchant Bank to invest in film through co-productions and structured finance deals. In the present climate there are those who are taking advantage of Section 24F of the Income Tax Act, which permits a 100% write-off of production costs. The recently launched Film and Television Production Rebate by the Department of Trade and Industry introduces further possibilities of funding — on condition that applicants fulfil the department’s requirements.
At the same time, the production of locally produced and directed feature films has increased dramatically. Broadcasters such as M-Net and the SABC, as well as distributors such as Ster Kinekor and NuMetro, have entered the equation. This will ensure that local filmmakers such as Ramadan Suleman, Zola Maseko, Ian Gabriel, Craig Friemond, Tim Greene, Darrel Roodt, Teddy Mattera, David Lister and Mark Bamford will be able to compete against international filmmakers such as Spike Lee and Pedro Almodovar when their films show at the second World Cinema Festival in Cape Town during Sithengi next week. The public will be presented with the largest feast of South African feature films to date. This is significant progress.
The majority of the films come from first-time filmmakers who have been struggling over the past 10 years to bring their visions to the screen. The mere fact that these films exist is a miracle and a measure of success. In a perfect world they would all find their audiences — first locally and then internationally. From there the filmmakers would go on to make their second and third films and establish successful careers.
However, this perfect world does not exist. It is not worth delving into the usual gripes expressed about “narrow-minded distributors who don’t understand my film”, or bad and failed marketing campaigns and the lack of cinemas in the townships. But, given all these drawbacks, I believe it critical at this point that as these new South African films commence their commercial lives we must respond to bottom-line data (the numbers don’t lie!). We must critically examine the fundamentals, which will ensure that we build a sustainable industry.
We need to define the type of industry we want. Filmmakers need to take another look at the source of their stories. Who do we make films for? Are we producing within our own economic reality? Do we have the right policies to govern and support the industry in all its sectors?
A concise and united industry position on these issues is required in driving forth policy that will ensure we build a self-sustaining industry. It is my hope that one of the films being showcased will break the mould and be commercially successful. This is vital to sustain private sector investment.
It is of utmost importance that the industry sustains the level of production. South African subjects must become the mainstay of the content of films made in the country, rather than South Africa being reduced to a convenient location for foreigners.
For us to succeed, it is crucial that the government realises that, well into the future, the industry will continue to require subsidy. Bodies such as the National Film and Video Foundation need to be funded adequately. More money needs to be put into project development, capacity building and training. The country needs to establish a national film school.
As we descend upon Cape Town to partake in this year’s Sithengi — a veritable cinema feast — I hope that all South Africans will rally behind our local films and go and see them. It is important that South African audiences see all local films and interrogate them. It is through this interaction that our filmmakers will understand that the real source of any story is the audience.
Joel Phiri is chairperson of the Sithengi board and executive producer of the DV/8 series of feature films