π’ Go Netflix and not-so chill: How Streamers Take Shape South Africa Film Industry ππ₯
Likely pushback from domestic airlines βοΈπ₯
Charlie Brooker latest work dey yan target direct Netflix, di same platform wey im anthology series Black Mirror dey since 2016.
Inside di dystopian world wey Brooker create, Netflix come dey represent Streamberry β a subscription service wey dey shamelessly exploit wetin dem dey show and di people wey dey produce am, all in di name of say dem wan satisfy di hunger for content wey no dey ever satisfy. Black Mirror wey plenty pipo like dey watch na because e fit reflect di badest side of di world wey tech giants dey control, and e dey happen for way wey go comot your mind. Brooker latest work wey concern Netflix dey important especially now wen writers dey strike for Hollywood and dem dey focus dia attention on Netflix. ππ₯οΈπ¬
As di show wey Brooker dey do and di writers’ strike don show, di relationship between creators and streaming companies no be small matter.
On one hand, these companies don cause di slow death of di film and television industry wey we sabi, na dem cause di industry to adapt or die β often to di detriment of di people wey dey work behind di scenes.
On di oda hand, e don give some filmmakers di chance to showcase wetin dey dia mind, something wey Hollywood no fit allow dem to do. π₯π¨βπΌππ‘
Short-circuited β‘π
One good thing wey happen be say Gambit Films wey dey Cape Town fit drop di first season of Blood & Water when di pandemic full ground. Dis teen drama series shoot enter di top 10 most-watched list for Netflix for eight countries. Season two and three beat di records wey dem set for 2020, and even enter global top 10 list.
“When Covid land, everything come kpai. But di way we dey follow do things β we just release season one and after 10 days, dem commission season two β na lucki chance,” na wetin Gambit executive producer Bradley Joshua yan.
“E dey lucky for us sake sake, because all man dey house. Nobody fit do anything.” π¦ ππ¬π
Even though di pandemic bin no gree for pipo for dis industry, streaming companies manage chop money from di demand for entertainment wey people want enjoy for house. Netflix subscription number just dey go up, wit 26 million new subscribers wey dem get for di first half of 2020 β and dis one pass wetin pipo bin dey expect.
Before dat time, di American company don enta South African market, dem launch dia service for di country for 2016. Since dat time, Netflix don invest for more dan 170 licensed titles and dem don commission 16 original South African series. πΊππ°
Di tori wey concern Gambit Films no end with Blood & Water. Dis year, dem do Unseen, a six-part thriller wey feature domestic worker as e main character, and e premier for Netflix.
According to Joshua, di arrival of streaming sites don change di local film industry sotey e no fit be di same again.
“When we start dis business for 2010, we bin wan produce Hollywood blockbusters for film and television.
“But we kon realise say we no fit just enter like dat β¦ Wetin people like Netflix don do be say dem don cut di process short.” π₯πποΈ
Wetin Netflix want π―π
Joshua talk say e compare di reaction wey Gambit first release, wey dem call Nommer 37, to Blood & Water. Di first film bin sell to international market, but e no get di same commercial success as di latter.
“That na di shift wey I see. Netflix model, whether e intentional or not, don change di way pipo dey watch film, change di way pipo dey crave for film.”
Joshua reminisce on di time wey e go Cannes Film Festival for 2014 as part of a delegation of black filmmakers sponsored by di Department of Trade and Industry.
“At dat time, di sales agents bin dey look for different tins wey no concern wetin we dey try to do.
“We bin dey try to produce content wey show black faces, dey hope say di content go travel β¦ If you look back for di past 10 years, wetin pipo dey search for don change well-well from wetin we know say pipo dey watch now.” π₯π€ποΈ
Today, according to Joshua, Gambit order book dey full with work from Netflix β and dis don change di way di production company dey operate.
Gambit get three writer-directors wey dey develop dia own projects wey dem fit sell to interested platforms. Di company also dey focus on projects specifically for Netflix.
“Sometimes Netflix go come to us and say, ‘Hey, we really want a film like this.’ And we go sit down with our creatives and say, ‘Right, Netflix want something like this,'” Joshua explain.
“We go brainstorm some ideas and sometimes we go land on something wey we go do β¦ Wetin we don do, as a business, be say we don dey see ourself as film and television studio.” ποΈπ¬πΌ
Tastemakers πΏπ
Although Gambit don hit jackpot with Netflix, no be everybody believe say streaming sites dey put di interest of di industry for mind.
One veteran filmmaker, wey no want make im name show, yan say β even though streaming companies get positives β dia pursuit of crowd-pleasing content fit suffocate independent film.
Another problem na di level of influence wey streamers get, especially over traditional broadcasters like di SABC.
SABC don dey find am hard to survive since streamers enta di picture and some pipo don yan say di South African regulators no too sabi how to handle di impact of these big companies on di local market.
Last year, di Independent Communications Authority of South Africa extend dia inquiry into subscription broadcasting services because of di quick changes wey dey happen for di market.
For dia own side, SABC still dey try to meet dia public mandate even though some of di content no dey attract wide audience. Di number of pipo wey dey watch SABC drop well-well between March 2018 and March last year, and e affect di money wey dem dey get from advertisement. πΊππ
“Streamers na lifeline for South African creators β¦ Some African commissioning editors dey on board and dem dey really think about di interest of filmmakers. But dem no get public mandate,” di filmmaker yan for one interview with di Mail & Guardian.
“Dem dey try grow dia viewership. Because competition dey too much, dem dey commission content wey dem know say go attract audience. E no dey push boundaries. E no dey artistically unusual. E just dey try attract pipo.” π₯ππ¬
Cait Pansegrouw, wey dey head development and production for Urucu films, yan say e fit dey hard for independent films to shine for di midst of di plenty content wey streaming sites dey push out.
Pansegrouw don work on di highly acclaimed Inxeba (The Wound), wey dem release for 2017, and also This Is Not a Burial, Itβs a Resurrection.
“Di algorithms no just dey respond to our taste. Dem also dey shape and influence am β¦ E dey easy to dey overwhelmed by plenty options and just dey follow di algorithm,” e explain.
“Our taste no fit grow if we dey always watch di same kind of content. I no believe say pipo know say dem wan something different until dem see am.
“Films wey dem go call ‘challenging’ or ‘difficult’ or ‘weird’ β as independent or arthouse films often dey β e dey hard to compete with di noise. So, e look like dem no get enough demand for these films, and e dey scare independent filmmakers.” ποΈππ€
Best and worst of times ππ
Streamers still get serious wahala wen e come to royalties, something wey dem don dey yan for di writers’ strike for obodo America.
If Netflix commission original film, dem go get 100% of di intellectual property and di creators no go see any residuals.
During public hearings for March, both Netflix and Amazon yan say di royalties wey dem dey owe go fit harm creators sake of say dem go restrict di upfront lump-sum payments wey dem dey rely on.
Netflix add say di royalty model fit dey wahala for video-on-demand services wey no dey monetize individual titles but instead dey collect money from subscription fees.
Di amendments also stop certain creators from licensing or assigning dia rights for more than 25 years. Amazon yan say dis one go reduce di incentive for producers to invest for local content.
For country wey economic growth dey low and unemployment rate dey high, di fact say streaming companies ready to invest na good power for di battle over regulations.
As Pansegrouw reflect on di writers’ strike and how creators dey treat, e yan: “When I think back to Covid, there was a strong feeling that the pandemic confirmed what many in the industry suspected β those who hold power donβt care about the arts, despite the fact that we were all consuming it in some shape or form during the lockdown.”
Di issues around residuals and artificial intelligence wey di striking writers raise dey touch di hearts of creators sake of di hard truth from di pandemic, e add.
“We know say streamers dey here to stay. We know say we need brilliant and creative minds to make content wey go feed di machine. Di question about di future no get straight answer,” e yan.
“But I believe say every time technology for distribution change, e dey call for new or updated terms. But right now, dat one no dey happen.” ποΈπ₯π¬π»
NOW IN ENGLISH
π’ Go Netflix and not-so chill: How Streamers Shape South Africa’s Film Industry ππ₯
Likely Pushback from Domestic Airlines βοΈπ₯
Charlie Brooker’s latest work takes aim at none other than Netflix, the very platform that has been home to his anthology series Black Mirror since 2016.
In the dystopian universe created by Brooker, Netflix finds its counterpart in Streamberryβa subscription service that shamelessly exploits its content and the creators behind it, all in the name of satisfying an insatiable appetite for entertainment. Black Mirror’s appeal lies in its ability to reflect the dark side of a world where tech giants reign as gods, often with an eerie prescience. Brooker’s latest work enters the Netflix debate at a particularly timely moment, as Hollywood’s writers’ strike has the streaming giant in its crosshairs. ππ₯οΈπ¬
As both Brooker’s satire and the writers’ strike suggest, the relationship between creators and streaming companies is a complex one.
On one hand, these companies have contributed to the gradual decline of the traditional film and television industry, forcing it to adapt or perishβan evolution that often comes at the expense of those working behind the scenes.
On the other hand, streaming platforms have provided some filmmakers with the opportunity to spread their wings, free from the constraints imposed by Hollywood’s dominance. π₯π¨βπΌππ‘
Short-Circuited β‘π
In a stroke of good fortune, Gambit Films, based in Cape Town, released its first season of Blood & Water right in the midst of the pandemic. This teen drama series quickly soared to the top 10 most-watched list on Netflix in eight countries. Seasons two and three surpassed the records set in 2020, securing spots on the global top 10 list.
“When Covid hit, everything came to a halt. However, our timing was fortunate as we had just launched season one, and after 10 days on the platform, they commissioned season two,” said Bradley Joshua, executive producer at Gambit.
“It was fortuitous because everyone was at home. Nobody could do anything.” π¦ ππ¬π
While the pandemic spelled disaster for many in the industry, streaming companies capitalized on the increased demand for at-home entertainment. Netflix’s subscriber numbers skyrocketed, with 26 million new additions in the first half of 2020βexceeding earlier growth predictions.
By that time, the American company had already established a foothold in the South African market, having launched in the country in 2016. Since then, Netflix has invested in over 170 licensed titles and commissioned 16 original South African series. πΊππ°
Gambit’s collaboration with Netflix did not end with Blood & Water. Earlier this year, the streaming platform premiered Unseen, a six-part thriller featuring a domestic worker as an unlikely protagonist.
According to Joshua, the emergence of streaming sites has brought about a dramatic transformation in the local film industry.
“When we started this business in 2010, we aspired to produce so-called Hollywood blockbusters in both film and television.
“But we soon realized that we wouldn’t achieve that goal right away… What Netflix and similar platforms have done is expedite the process,” Joshua explained.
What Netflix Wants π―π
Joshua compared the reception of Gambit’s earlier release, a feature-length thriller titled Nommer 37, with that of Blood & Water. While the former was sold internationally, it did not achieve the same commercial success as the latter.
“That’s the shift I’ve noticed. Whether intentional or not, Netflix’s model has changed people’s viewing habits, altered their preferences.”
Reflecting on his experience at the Cannes Film Festival in 2014 as part of a delegation of black filmmakers sponsored by the Department of Trade and Industry, Joshua said, “At the time, sales agents were looking for different things than what we were trying to do.
“We were attempting to create content featuring black faces, hoping that it would resonate globally… If you look back a decade, what the world was seeking was very different from what we now know the world is consuming.” π₯π€ποΈ
Today, Joshua revealed that the majority of Gambit’s projects are commissioned by Netflix, leading to a shift in how the production company operates.
Gambit has three writer-directors who develop their own projects to pitch to interested platforms. Additionally, the company focuses on projects tailored specifically for Netflix.
“Netflix sometimes approaches us and says, ‘Hey, we really want a film like this.’ Then, we gather our creative minds and say, ‘Alright, Netflix wants something along these lines,'” Joshua explained.
“We brainstorm ideas, and sometimes we strike gold and proceed with the project… As a company, we are now beginning to see ourselves as a film and television studio.” ποΈπ¬πΌ
Tastemakers πΏπ
Despite Gambit’s successful partnership with Netflix, not everyone is convinced that streaming sites have the best interests of the industry at heart.
One veteran filmmaker, who preferred to remain anonymous, suggested that, despite the benefits they bring, streaming companies’ pursuit of crowd-pleasing content could stifle independent films.
Another concern is the significant influence streamers wield, particularly over traditional broadcasters like the South African Broadcasting Corporation (SABC).
The SABC has struggled to survive amidst the growing presence of streaming platforms, and some critics argue that South African regulators have yet to fully grasp the impact of these multinational corporations on the local market.
Last year, the Independent Communications Authority of South Africa extended its inquiry into subscription broadcasting services, citing the rapid changes occurring in the market.
Meanwhile, in the face of mounting competition, the SABC has had to continue fulfilling its unfunded public mandate, even if some of its content does not attract as large an audience. The broadcaster’s viewership declined by more than 50% between March 2018 and March of last year, adversely affecting advertising revenue. πΊππ
“Streamers have been a lifeline for South African creators… There are dedicated African commissioning editors who genuinely care about the interests of filmmakers. However, they do not have a public mandate,” the filmmaker stated in an interview with the Mail & Guardian.
“They are striving to increase their viewership. Due to the intense competition, they commission content they know will attract audiences. It doesn’t push boundaries. It lacks artistic uniqueness. It simply aims to draw viewers in.” π₯ππ¬
Cait Pansegrouw, head of development and production at Urucu Films, also highlighted the challenges faced by independent films in standing out amidst the deluge of content pushed out by streaming platforms.
Pansegrouw worked on critically acclaimed films such as Inxeba (The Wound), released in 2017, and This Is Not a Burial, It’s a Resurrection.
“The algorithms not only respond to our tastes but also shape and influence them… It’s easy to become overwhelmed by the multitude of options and simply follow the algorithm,” she explained.
“Our tastes cannot evolve if we continually consume the same type of content. I don’t believe people know they want something different until they are exposed to it.
“Films that are often labeled as ‘challenging,’ ‘difficult,’ or ‘unconventional’βwhich independent or arthouse films often areβstruggle to cut through the noise. There appears to be less demand for these films, which is alarming for independent filmmakers.” ποΈππ€
The Best and Worst of Times ππ
Streamers also face criticism regarding royalties, a matter that has come to the forefront during the writers’ strike in the United States.
When Netflix commissions an original work, it retains 100% of the intellectual property rights, leaving creators without any residuals.
During public hearings in March, both Netflix and Amazon voiced concerns over royalty obligations outlined in amendments to the Copyright Bill and the Performers Protection Bill.
Netflix argued that royalty obligations could harm creators by restricting the upfront lump-sum payments they rely on. Additionally, the royalty model presents challenges for video-on-demand services, which generate revenue through subscription fees rather than individual title monetization.
The proposed amendments also prevent certain creators from licensing or assigning their rights for longer than 25 years. Amazon claimed that this would diminish incentives for producers to invest in local content.
In a country grappling with low economic growth and an alarmingly high unemployment rate, the willingness of streaming companies to invest provides leverage in the ongoing battle over regulations.
Reflecting on the writers’ strike and the treatment of creators, Pansegrouw remarked, “When I think back to Covid, there was a strong feeling that the pandemic confirmed what many in the industry suspectedβthat those in power do not care about the arts, despite the fact that we were all consuming it in some form during the lockdown.”
The issues surrounding residuals and artificial intelligence raised by the striking writers resonate deeply with creators due to the harsh realities of the pandemic, she added.
“We all know that streamers are here to stay. We also know that we need brilliant and creative minds to produce content to feed the machine. The question of the future does not have a straightforward answer,” she concluded.
“However, I believe that with every shift in distribution technology, new or updated terms are necessary. Unfortunately, that is not currently happening.” ποΈπ₯π¬π»