5th FLATFOOT ACCESS FESTIVAL 2026 : A Feast of Dance for All.

30 November - 5 December 2026: FLATFOOT DANCE COMPANY presents its fifth annual edition of the FLATFOOT ACCESS FESTIVAL offering a week-long engagement of workshops, residencies, and performances from 30 November to 5 December at the Milkwood Theatre, in Durban North, during the tail end of South Africa’s National Disability Rights Awareness Month (3 November - 3 December).

The festival celebrates FLATFOOT’s 23-year history of encountering disability through dance education and development work, and more recently in their professional development work. 

FLATFOOT ACCESS PANTHERS in Loots's WE ARE RISING (2025) - Thomas Ras and Sbonga Ndlovu

“The journey toward access and professional training for dancers living with both intellectual and physical disabilities lies at the heart of this small ever-growing festival,” says FLATFOOT’s Artistic Director Lliane Loots. “It is an amazing moment of celebrating not just the incredible dancers, dance makers, and choreographers participating, but of the truly transformative power of dance to shift perceptions and realities, and bind our communities together”.

The festival always invites a special guest to run workshops and offer performances, and to push and support local integrated dance practices. In previous years the festival has hosted Sydney Erlikh (USA), Jürg Koch (Switzerland), and Gladys Agulhas (South Africa), and in 2026 we are very excited to host two national and international guests.

FLATFOOT Access workshops - Sofia Jameson and Siseko Duba

The Access Festival welcomes Finnish choreographer Riina Hannuksela, with-support from the Finnish Embassy in Pretoria. Riina is a dance artist and doctoral researcher at the Theatre Academy, University of the Arts Helsinki. For almost two decades, she has worked in the performing arts, focusing on making the field more accessible for people from diverse backgrounds and abilities. She creates choreographic practices that position dancers with intellectual disabilities as creators of artistic knowledge rather than merely its recipients. She is the initiator and convener of Helsinki-based Ihanat Company. She will teach an open workshop over the festival (Wednesday 2 December: 2 – 3.30pm at the FLATFOOT Dance Studio), and she will also create a new work alongside FLATFOOT and their now 10-year-old FLATFOOT Downie Dance Company.

The festival also welcomes Johannesburg-based MOVING INTO DANCE (MID) with a beautifully titled work called LIMITLESS jointly choreographed by Tebogo Lelaletse, Lesego Dihemo and Sbusiso Gumede. In a world riddled with obstacles and segregation, LIMITLESS stands as a bold declaration: inclusion is not optional; it is essential. Through movement, music, and collective expression, this dance work affirms that living with mixed abilities is the beginning of a deeper understanding of resilience, beauty, and belonging. MID will also teach a special workshop exploring the body and its possibilities for inclusive dance practice through MIDM’s Afrofusion dance technique and creative movement (Thursday 3 December: 4.30 – 6pm – DUT Actor’s Studio).

FLATFOOT DOWNIE DANCE CO. Jabu Sipika, Sifiso Khumalo, Michaela Munro and Karl Hebbelmann in Loots's HOLD MY HEART (2025)

Spicing up the festival for 2026, sees stalwart FLATFOOT dancer Sifiso Khumalo working with the FLATFOOT DANCING WHEELS in a new creation with fellow company dancers Jabu Siphika and Mthoko Mkhwanazi, and wheelchair dancer Thami Sheshane. Titled, AFLOAT IN THE SPIRAL, this new work looks at the idea of control; of what it means to be in control while a lot is happening around you.

Look out for a new works from the 10-year-old integrated dance programme working with dancers with Down Syndrome who fondly call themselves the “FLATFOOT Downie Dance Company”. They perform alongside FLATFOOT in a work called “the space between us” created by Lliane Loots in collaboration with all the dancers, and is a deep dive into and aching reminder that we are each other’s mirror in our search for a common humanity.

Following the success of the Downie Company, the “FLATFOOT ACCESS PANTHERS” was started in 2023 to train the next generation of dancers with intellectual disabilities. This is now their fourth public performance, and together with the FLATFOOT company they perform a work called Dance, Pray, Love – a celebration of trust, community and care, and evokes the deeper meaning of UBUNTU as dancers hold, carry and catch each other in a space of connection.

MID - Enable (2025) Thabo Sebatlelo

The Festival has been made possible through support funding from the Oppenheimer Memorial Trust (OMT), the National Arts Council (NAC) of South Africa and PESP 7.

Workshop bookings - places are limited at both workshops so booking essential via Lootsl@ukzn.ac.za

The two showcase performances take place on Friday 4 December @ 6pm and (repeat) Saturday 5 December @ 2.30pm at the Milkwood Theatre, (21 Middlebrook Ave, Virginia, Durban North). Tickets are R100 (scholars/students/pensioners @ R85). The Milkwood Theatre is wheelchair friendly, there is safe parking on site, and there are refreshments on sale at NOW Coffee.

An image from performance ‘2 x 2’ (2025), premiered in Cultural Centre Caisa, Helsinki, Finland. Dancers in the image: Front: Iiris Laisi, Back: Elisa Lejeune, Vappu Virkkula and Sofia Johansson. Photo credits: Pate Pesonius

Bookings are through Webtickets: 

https://www.webtickets.co.za/v2/event.aspx?itemid=1606325403

We Are What Remains brings !Xun and Khwe linocuts into an immersive new exhibition at !Khwa ttu

An immersive exhibition honouring !Xun and Khwe memory

Yzerfontein, South Africa: What happens when a collection of linocuts, created by artists from communities displaced by war, is reimagined through animation, projection and sound? Audiences can experience this at We Are What Remains, an immersive digital art exhibition opening at !Khwa ttu San Culture & Education Centre in Yzerfontein, on the West Coast of South Africa, on 31 October 2026 - October 2027.

Visitors will be able to explore an immersive installation combining projected imagery, animation, spatial audio and sculptural elements. They will encounter linocut figures brought into motion through light, animations unfolding across surfaces, and optical illusions that create the impression of images suspended in space. Together, these elements offer new ways to engage with the artworks and the histories, memories and San cosmologies they reflect. We Are What Remains honours not only what has been lost, but also what has survived.

Inka Kendzia and Faye Kabali-Kagwa

At the heart of the exhibition is a collection of linocuts, prints made by carving designs into linoleum and transferring them onto paper, created by !Xun and Khwe artists during the 1990s and 2000s. The artworks emerged from a little-known chapter in southern African history. Following Namibia's independence in 1990, !Xun and Khwe communities, including former members of the South African Defence Force's 31 Battalion and their families, were relocated to Schmidtsdrift in South Africa. Originally from northern Namibia and southern Angola, the two distinct communities were brought together through displacement. The exhibition offers an opportunity to revisit this history through the artists' own perspectives, giving renewed visibility to their experiences, memories and cultural knowledge.

In 1993, an arts project initiated by Catharina Scheepers provided a space for !Xun and Khwe men and women living in Schmidtsdrift to create linocut prints. Working in makeshift spaces, the artists produced images reflecting experiences of war, displacement, community and longing for home, with each developing an individual style. Today, !Khwa ttu holds 600 original linocuts from the project, preserving an important visual record of the communities' histories and cultural knowledge.

“The significance of the linocuts lies in their ability to preserve and transmit cultural memory, inherited knowledge, oral tradition, identity, and resilience,” says Magdalena Lukas, Museum Curator at !Khwa ttu. “They are living archives of San worldviews, sustained through artistic practice rather than written record. For the !Xun and Khwe artists, the linocuts are a vital means of safeguarding endangered cultural knowledge and asserting continuity in the face of profound historical disruption.”

Mr Sakitumi and Inka Kendzia

For the original artists, the linocuts also represent a connection between generations and a way of passing on cultural knowledge. “We learned from our parents, and they learned from their parents, and we want our children to learn from us. Our forefathers created art and we are guided by our ancestors to create this art,” says Luhepu Kaheke, one of the original San linocut artists.

Developed by Open Draft, a South African creative company specialising in cultural curation and immersive design, in collaboration with !Khwa ttu and seven of the original artists, We Are What Remains combines the original linocuts with immersive technologies. The creative process has centred on the artists' experiences and individual forms of expression, exploring how their works can be interpreted in a new medium while remaining rooted in the original artworks. 

“Light, sound and movement bring the artworks to life through immersion and projection mapping,” explains Inka Kendzia, Co-Director and Creative Technologist at Open Draft. “We wanted the artists' own voices to come through,” adds Faye Kabali-Kagwa, Producer and Co-Director at Open Draft. “All the artists have shared experiences, but the creative expression is unique and particular to each artist.”

Shadow play with figures drawn on acetate

We Are What Remains is the third of six exhibitions developed through Futures_Past: Amplifying Memory with Immersive Technologies, an initiative of the Embassy of France in South Africa, Lesotho and Malawi and the French Institute of South Africa (IFAS), in partnership with Electric South and funded by the French Ministry for Europe and Foreign Affairs. The programme brings together creative teams and archives across the three countries to co-create immersive works that offer new ways for audiences to engage with historical collections.

“At !Khwa ttu, the linocuts are not simply objects to be preserved. They are living testimony,” says Sofia Saa, Regional Head of New Media, Film and Television at IFAS. “By working alongside the artists and the community, this project shows how immersive tools can help audiences step into history with care and respect, and feel why these stories still matter today.”

Event details

We Are What Remains – Immersive exhibition

Exhibition dates: 31 October 2026 – October 2027

Venue: !Khwa ttu San Culture & Education Centre, R27, Yzerfontein, Western Cape, South Africa

Entry to the museum: R130

CAMP x GALA Queer Archive Host Protest Poster Making Workshop Inside Immersive Exhibition Acts of Care

Johannesburg: This Pride Month, audiences are invited to do more than look at history, by joining in a workshop to add their voices to the Acts of Care exhibition’s living poster wall. 

CAMP (Community Art Mobilisation Project) in collaboration with GALA Queer Archive, will host a Protest Poster Making Workshop inside Acts of Care, the immersive exhibition currently running at Latitudes Centre for the Arts (LCA) in Johannesburg.

In the 1990s, the Township AIDS Project (TAP) made its own posters, banners and pamphlets to say things, and share information that was not being shared anywhere else. Those materials, held by the GALA Queer Archive, are on the walls at Latitudes now as part of Acts of Care, an Extended Reality (XR) exhibition that explores how communities in the early 1990s Johannesburg and Soweto organised care, education and advocacy during the HIV/AIDS crisis.

“This free three-hour workshop asks participants to look closely at how an earlier generation put a message into public space, using paint, scissors and slogans, and then make something of their own about what needs to be said now,” explains Acts of Care Artistic Project Lead, Kieran Reid. “By making posters together, we hope to construct a collective memory. Each finished poster will join the exhibition’s living poster wall, and will remain in the archive.”

The workshop builds on the Acts of Care exhibition’s poster making station, where visitors design their own posters, physically or digitally, using visual assets from the TAP and GALA archive. Completed works are pasted and projected onto a growing shared wall that evolves throughout the exhibition’s run.

“Our creative team will be on hand to guide, support and advise on what promises to be a meaningful experience,” says Reid.

“We don’t want to simply document TAP’s history, we wanted people to feel what it meant to organise care under pressure, without a manual, without institutional support, and often without the language to name what was happening,” says Linda Chernis, Archivist, GALA Queer Archive

The workshop also speaks to the present. As international HIV/AIDS funding, including support previously channelled through PEPFAR, faces cuts that are affecting clinics, community health workers and prevention programmes across South Africa, Acts of Care insists that the community-led practices of care pioneered by TAP remain relevant today. 

The workshop is designed for anyone with something to say. No art experience is required. Because the session involves paint and other art-making materials, participants are encouraged to wear comfortable clothing and shoes they don’t mind getting messy.

Acts of Care is one of the projects in Futures_Past: Amplifying Memory with Immersive Technologies, an initiative of the Embassy of France in South Africa, Lesotho and Malawi and the French Institute of South Africa (IFAS), in partnership with Electric South, with funding from the French Ministry for Europe and Foreign Affairs.

Workshop details

Workshop: Protest Poster Making, CAMP x GALA Queer Archive, inside Acts of Care
 When: Saturday 31 October 2026, 10:00–13:00
 Where: Latitudes Centre for the Arts, 12 Hope Rd, Mountain View, Johannesburg
 Cost: Free (Max 20 people)  Age: 16+
 Booking essential: https://www.quicket.co.za/events/364286-protest-poster-making/#/

Acts of Care Exhibition runs until 1 December at Latitudes Centre for the Arts, and is open Weekdays, Tuesday to Friday,  from 10:00 - 15:00, and on 28 November from 10:00- 13:00. 

More info : https://twonamegames.com/actsofcare/

Mayibuye Doc Lab opens call for compelling South African Documentaries

DURBAN, SA: NFVF-backed film development lab offers six documentary teams a route from a concept to an investment-ready project - and onto the world stage at documentary markets.

Mayibuye Doc Lab has announced its call for projects for the 2026/27 South African edition, inviting South African filmmaking teams to submit compelling documentary projects in development or early production. The second edition of the lab is hosted by Ehozini Retreat (Durban) and funded by the National Film and Video Foundation (NFVF) PESP. Applications are now open and close on 13 November 2026 at 23:59SAST.

Mayibuye Doc Lab is a hands-on development lab for creative documentaries:  films with a strong authorial voice, a compelling narrative with a clear dramatic arc, and the potential to move audiences at home and abroad. Six projects will be selected. Over four months, each team - writer/director, producer and impact producer - will move from concept to a complete, investment-ready project package: a narrative treatment and draft script, a production and financing plan, and a distribution, marketing and impact strategy.

The Lab combines online workshops, a story writing residency and group sessions to strengthen each project's story and visual approach, producing and financing strategy, and distribution, marketing and impact strategy. The mentorship in the lab will be  guided by an experienced mentorship team and guest facilitators from the local and international industry.

Completing the Lab is the beginning, not the end. Through the Post-Lab Alumni Programme, Mayibuye alumni can network with colleagues across the continent and carry their projects to the international industry via partnerships with numerous documentary markets in 2027.

“We are looking to support filmmakers with character-driven stories, innovative approaches to documentary filmmaking and new perspectives. Our lab will create space for the key creative team on the project to invest time into deepening their storytelling, strengthen their project package and connect with collaborators to take the films to audiences,” says Tiny Mungwe, Programme Manager, Mayibuye Doc Lab

“We welcome applications from filmmakers with some experience or training in filmmaking. Applicants should have at least a completed short film (fiction or non-fiction) even if it hasn’t been screened at a festival or broadcast,” says Mitchell Haprer, Project Manager, Mayibuye Doc Lab.

The call is open to South African projects with South African key creative teams. It targets filmmakers at NFVF Tier 2 or Tier 3 looking for accelerated growth, and first-time documentary filmmakers with a track record in other formats - fiction, commercials or episodic - are welcome and encouraged. Each project must be ideally represented by a writer/director, a producer and an impact producer, available for the full programme.

Applications can be submitted through the online application form: HERE, and close on 13 November 2026 at o 23h59 SAST. Participants will be expected to be available on the following dates: Online workshops: 1–11 December 2026;  eHozini (KZN) Writing residencies: January 2027 and online· Group sessions: January–February 2027  Mayibuye Doc Lab covers the cost of travel, accommodation and food for the on-site residency.

Beach Clean-up helps turn litter into livelihoods, and gives a revived buy-back centre its first push

Green Corridors' East Coast Recycling Partnership tests a two-bag system and prepares the Dakota Beach Buy Back Centre to serve the informal settlement as a micro-business pilot.

When the Municipality's World Clean Up Day volunteers hit Dakota Beach, on World Clean Up Day last month, the East Coast Recycling Partnership (ECRP), a Green Corridors initiative, asked them to do one thing differently: separate recyclables at the source, with a two-bag approach.

The Municipality's Cleansing and Solid Waste (CSW) unit led the event, supported by schools and corporate volunteers. It focused on south Durban beaches, with clean-ups at Cuttings, Reunion and Dakota/Isipingo. ECRP took part only at Dakota Beach, south of Durban, the site beside the informal settlement where the Dakota Recyclers Informal Settlement Buy Back Project is in its start-up phase. The settlement sits in ecologically sensitive beach dunes, which made it a good fit for a recovery-focused approach.

Gary Cullen, Project Manager of ECRP shows the two bag system used in the Dakota Beach  clean up last month.

Volunteers from schools, corporates, and the local community , paired up, with one carrying a bag for non-recyclable waste and the other a bag for recyclables. The recyclable bags were shared between Verigreen/Supa Mama's, and Dakota Recyclers.

ECRP were able to weigh everything collected at the Dakota Beach BBC and the following was recorded:

• 1,142kg of non-recyclable waste which was taken to landfill by the Parks Department.

• 890kg was collected in separate bags for recycling comprising 234kg of plastic and 656kg of glass.

A large share of the non-recyclable waste was polystyrene, which is technically recyclable but has no market locally.

"Separating at the source meant the recyclables came out clean and usable, instead of being lost in a general waste pile," said Gary Cullen, Project Manager of ECRP. "It also showed us what the problem materials are, to enable us to strategize how we can manage that waste.”

The Dakota Recyclers Centre was first set up in 2024 but served only a small group of informal collectors. . The ECRP is now assisting to expand that Centre and enable the Dakota Recyclers to begin a business buying back recyclables from informal reclaimers thereby supporting livelihoods among the approximately 4000 residents of the Dakota Beach informal settlement

The model is simple. Residents bring recyclables to the centre, where each material is weighed and paid for at its own rate. Payment is immediate. The centre stores the material, and ECRP periodically transports it to a facility in KwaMashu to be baled and sold. It sells directly, with no middleman, and the proceeds go back to the centre. The centre buys all recyclables: metals, paper, cardboard, plastics and glass brought in.

Dakota Recyclers, which runs the centre, is led by Mpume Magutshwa, a resident of the settlement who has been involved in the initial project in 2024. She and several young people began collecting, sorting and selling to a buyer who they would call occasionally.. With the centre now able to weigh and pay immediately and store securely on site, the opportunity is opened for more people to benefit as reclaimers and for Dakota Recyclers to generate greater revenue from the sale of baled materials..

The pilot is also designed to produce verifiable data for funders and brand owners: how many people take part, how often, what they earn, and what costs and revenues look like. That will show the extent of government and donor support needed for this buy-back model to be a self-sustaining way to divert recyclables from informal settlements and support local livelihoods in addition to reducing waste in the natural environment.

Dakota is one of three informal settlement min-buyback micro-businesses currently being set up by ECRP with the aim of developing a solution for municipalities locally, nationally and globally.

During the next few months, the ECRP will track recyclable volumes and finances, and will provide financial management and bookkeeping support so that these centres run as well-managed businesses. Both the Municipality's Waste Manage and Parks departments supported the centre during the clean-up, and both are keen to see it work.

International organisations, The Alliance to End Plastic Waste, and Unilever (SA) are supporting the ECRP’s role in recycling in KZN.

Organisations, industry players and investors interested in playing a part in this collaborative partnership building a viable circular economy for SMMEs in KwaZulu-Natal can contact the project directly on 

ecrp-admin@durbangreencorridor.co.za.

Kingsley Holgate Foundation’s Tail of the Dragon expedition to traverse the Drakensberg mountain range from Iron Crown in Limpopo to Rhodes in the Eastern Cape

The Kingsley Holgate Foundation began its Tail of the Dragon Defender-powered humanitarian and conservation expedition on 1 October, following the Drakensberg mountain range from Iron Crown near Haenertsburg in Limpopo to the historic village of Rhodes in the Eastern Cape Highlands.

The expedition will traverse the Transvaal Drakensberg in Limpopo and Mpumalanga, the Northern, Central and Southern Drakensberg in Free State and KwaZulu-Natal, before travelling through the highlands of Lesotho and into the Eastern Cape. The team will explore the geology, wildlife, history, archaeology and cultures associated with one of Southern Africa’s great mountain ranges, while conducting humanitarian and conservation work in remote communities. 

Kingsley Holgate and Ross Holgate

This expedition marks 25 years of unstoppable partnership between Defender and the Kingsley Holgate Foundation. Since 2000, Defender has supported the Foundation on more than 40 expeditions, helping to deliver malaria prevention, clean water, reading glasses and conservation education to communities across Africa. 

Ross Holgate, expedition leader, said: “After so many years of exploring Africa, there is something very special about turning our attention to a great mountain range right here on our doorstep. The Drakensberg has shaped the landscapes, cultures and communities of Southern Africa for generations, and Tail of the Dragon gives us an opportunity to explore that story from north to south. We’re expecting remote 4x4 tracks, high mountain passes, tricky river crossings, unpredictable weather, long days and the inevitable surprises that make an expedition a true test of endurance, ingenuity and spirit.

“But as with every expedition we undertake, this journey must be about more than adventure. Along the way we will be distributing mosquito nets, giving the gift of sight through our Rite to Sight programme, supporting early childhood development centres and working with young people on wildlife conservation. If we can leave each community a little better than we found it, then the expedition will have achieved what we set out to do.”

Tail of the Dragon will continue the Foundation’s malaria prevention work, with education and the distribution of insecticide-treated bed nets to maternity clinics in communities in northern Limpopo. The intervention follows severe flooding earlier this year which has resulted in an increase in malaria cases in communities close to South Africa’s borders with Mozambique and Zimbabwe. 

The expedition will also carry thousands of pairs of reading glasses for the Foundation’s Mashozi’s Rite to Sight programme. Simple eye tests will be conducted in remote communities along the route, continuing a programme which has already helped more than 224 000 people recover the gift of sight. 

Early Childhood Development will be another focus, with the team supporting rural early learning centres through structural upgrades, murals and educational resources. Wildlife Art competitions and conservation education activities with schools will also take place throughout the expedition to encourage children living close to conservation areas to better understand and protect their natural heritage. 

The expedition route will provide a punishing test for the convoy, led by the Foundation’s two Defender 130 Outbound luxury SUVs, the ultimate combination of capability and comfort. From Iron Crown and geological landmarks around the Blyde River Canyon, to the Golden Gate Highlands National Park, the journey will take in the Amphitheatre and Tugela Falls, the peaks and passes of the Central and Southern Drakensberg, and the steep 4x4 climb up Sani Pass into Lesotho.

From there, the expedition will cross the Lesotho Highlands before entering the Eastern Cape, where the Defenders will tackle a series of challenging unpaved mountain passes including Naude’s Nek, Lundean’s Nek, Joubert’s Pass and the Bastervoetpad before reaching Rhodes. 

As part of the 25-year partnership celebrations, the Foundation also plans to incorporate 25 historic Defenders through the ages at different stages of the expedition. The convoy will serve as a symbolic acknowledgement of a partnership that has helped the Foundation reach remote communities across the continent. 

The Kingsley Holgate Foundation’s partnership with Defender has seen the expedition team travel across all 54 African countries and complete more than 40 expeditions. Its recent Greater Gorongosa and Afrika Odyssey expeditions alone covered well over 150 000km in the new Defender. 

The two Defender 130 Outbounds currently used by the Foundation offer up to 2 516 litres of loadspace, while Intelligent All-Wheel Drive, Terrain Response 2®, Electronic Air Suspension and Adaptive Dynamics provide the capability required for difficult terrain. The vehicles also offer up to 900mm of wading capability. 

Janico Dannhauser, Defender Brand Manager, JLR South Africa, said: “Twenty-five years is an extraordinary milestone for Defender and the Kingsley Holgate Foundation. In that time, the team has travelled to every country on the African continent, often reaching communities in places where very few others can go. We are immensely proud that Defender has been part of that journey.

“Tail of the Dragon is a fitting way to mark this anniversary. It brings the adventure home while continuing the humanitarian and conservation work that has always been at the heart of our partnership. The two Defender 130s will once again have an important job to do, carrying the team and vital supplies through some of the most challenging mountain terrain in Southern Africa.”

Tail of the Dragon is scheduled to conclude in November this year in Rhodes in the Eastern Cape.

Umfolozi River’s story comes to the Dome: Umfula: Echoes of the River FullDome Premiere at Wits Anglo American Digital Dome. on 16 October

A South African environmental documentary journeys from source to sea in 8K FullDome, during Fak’ugesi African Digital & Innovation Festival 2026

Johannesburg, October 2026: Umfula: Echoes of the River, an immersive VR documentary following the Umfolozi River in KwaZulu-Natal from source to sea, will have its FullDome premiere at the Wits Anglo American Digital Dome on Friday 16 October at 14:45 followed by a panel discussion as part of Fak’ugesi African Digital & Innovation Festival 2026, with further screenings going forward around the country.

Directed by Telmo dos Reis, produced by Cheryl Tuckett, and co-written and narrated by Thando Fuze, the film is a 30-minute long and in 8K for the FullDome.

“Umfula” means “river” in isiZulu, and the story is guided by the poetic voice of the river itself. It travels from its source near Vryheid, KwaZulu-Natal, through communities and ecosystems, towards iSimangaliso Wetland Park and the Indian Ocean.

The film celebrates the river’s beauty and ecological importance while confronting pressures from mining, pollution, unsustainable resource use and agriculture. It also explores the spiritual and cultural bond between water, land and people, drawing on a Sangoma, farmers, activists, conservationists, park officials, tourism operators and local residents. Collaborators include Ezemvelo KZN Wildlife, Global Environmental Trust, Mfolozi Community Environmental Justice Organisation and iSimangaliso Wetland Park.

Before reaching the dome, the original VR version was taken to six community events in rural KwaZulu-Natal, bringing the experience to people living along the river, some of whom were involved in the filming. Further community screenings are planned, while the VR version is being prepared for future release on VR platforms.

“Water is more than a resource; it is a sacred life force, deeply connected to culture, spirituality and survival,” said director Telmo dos Reis. “Umfula is a call to reflect on our shared responsibility to protect our water sources for future generations.”

The FullDome version offers a shared experience, with audiences surrounded by the river’s landscapes and spatial sound. The screening will be followed by a panel discussion on the river, cultural connections to water, environmental challenges and immersive storytelling, plus a networking opportunity. Where logistics allow, audiences may also try the original VR version on headsets.

Fak’ugesi African Digital & Innovation Festival, Africa’s premier digital innovation festival, runs from 13 to 17 October at the Tshimologong Digital Innovation Precinct in Johannesburg. Now in its thirteenth year, it takes the theme “African Imaginaries.” Umfula brings a KwaZulu-Natal story to this platform, placing environmental storytelling alongside digital innovation and African creative practice.

"Umfula follows one river from its source to the sea, and the Dome lets an audience stand inside that journey. We are proud that its African premiere is at Fak’ugesi, in a festival where memory is active and water is part of what we remember,” says Alby Michaels, Festival Director.

The FullDome experience will be available from 16 October  14:45. Bookings for Fak’ugesi can be made through fakugesi.co.za/tickets.

Umfula: Echoes of the River, will be available for screenings in communities in the near future, and will also have further screenings in around the country. For more information go to https://www.umfulavr.africa/ or email Telmo at telmo@vrcapture.co.za

The film has been made through the support of KZNTAFA, NFVF, and Light&Lion.

The 17th edition of the Durban FilmMart (DFM) has wrapped up, concluding with the presentation of the 2026 DFM Awards on Monday 12 October

The premier film industry event in Africa, the Durban FilmMart (DFM) 2026, took place from 9 to 12 October in Durban, under the theme “Shifting Worlds: Turning Towards Ourselves” successfully bringing together 1131 film professionals and filmmakers from 56 countries across the world.

“We are delighted to have hosted such a dynamic array of filmmakers and industry leaders in Durban. Delegates entrusted us with their projects and ideas, and had honest, uncompromising conversations about alternative funding pathways, equitable co-production and authentic partnerships,” says Magdalene Reddy, Director of the Durban FilmMart Institute (DFMI). “The talent showcased in this year’s programme and film projects exemplifies the strength of African cinema; networks expanded, and partnerships forged will extend DFM’s legacy and impact. We extend our gratitude to our partners for their support in celebrating and elevating African storytellers, producers and content creators.”

“The quality of the projects presented in this year was exceptional, with filmmakers bringing bold, original and well-developed work to the table,” adds Reddy. “That calibre was matched by the generosity of the organisations, funders and festivals who came to Durban to recognise it. Every prize, whether it is a cash grant, a place in a lab or market, or a mentorship, opens a door for these filmmakers, and we are deeply grateful to our partners for their continued belief in African storytelling.”

The event ended on a high with the presentation of 39 awards from 30 partners, valuing over R2 million (over $120 938,00).

All the award winners at the 17th Durban FilmMart 2026.

Category – Cash Awards:

The JustFilms Documentary Award (Ford Foundation) – Award of 10,000 USD

THE THREAD AND THE WALL - LE FIL ET LE MUR (Algeria)

Producer/Director: Mouni Bouallam

Al Jazeera Co-production Award of 10,000 USD

ON THE SEA ROAD (Palestine)

Director: Fitnat Waked with participation of Nour Obaid

Climate Story Labs Award of 10,000 USD

The award is on behalf of Climate Story Labs Africa and Doc Society, in collaboration with UMI Fund.

THE BIRTH OF DERNA (Libya)

Director: Hussein Eddeb

National Film and Video Foundation of South Africa (NFVF)

• Best Fiction – Grant of R100,000

THE BOY WHO SPOKE STATIC (Nigeria)

Agbajowo Collective: Temitope Ogungbamila, Samuel Okechukwu, Mat Cerf (Lead Producer) and Bisola Akinmuyiwa

• Best Non-fiction – Grant of R100,000

THE ONES WITH THE TEMPERED FLOWERS (Kenya)

Producer: Ivy Kiru

Director: Neema Ngelime

• Best Animation – Grant of R100,000

SUNDAY MORNING (Ethiopia)

Producer: Nahom Abiy

Director: Minasie Terefe

Inkaba Award (Stained Glass TV) – Award of R30,000

DADDIES (South Africa)

Producer: Catharina Weinek

Director: Sean Mongie

NEWF Natural World Storytelling Grant of 5,000 USD

A TOUCH OF PARADISE (Tunisia)

Producer: Sarra Ben Hassen

Director: Houcem Slouli

Red Sea Film Fund Award – Fiction of 5,000 USD

• HEIRS OF NO REGRET (Kenya)

Producer: Mumo Liku

Director: Saitabao Kaiyare

• THE BOY WHO SPOKE STATIC (Nigeria)

Agbajowo Collective: Temitope Ogungbamila, Samuel Okechukwu, Mat Cerf (Lead Producer) and Bisola Akinmuyiwa

Docubox Award of 5,000 USD

WHERE DO I BELONG? (Sudan)

Producer: Talal AfifI

Director: Ibrahim "Snoopy" Ahmad

TRT Award of 5,000 USD

ON THE SEA ROAD (Palestine)

Director: Fitnat Waked with participation of Nour Obaid

RRImpact Pitch Prize (DocA) of 5,000 USD

MY DJOMÉLÉ NIGHT (Burkina Faso)

Producer: Cinema Salama

Director: Barkima Nafissatou Laguempedo

Sundance Institute Documentary Fund New Voices Award of 5,000 USD grant

WHERE DO I BELONG? (Sudan)

Producer: Talal Afifi

Director: Ibrahim "Snoopy" Ahmad

The Whickers Bursary Award of 3,000 GB POUNDS

GREEN ISLAND GIRLS (Egypt)

Producer: Amrosh Badr

Director: Rogena Tarek

Sunshine Cinema UCT Impact Development Award 

The award comprises a bursary to the University of Cape Town Sunshine Cinema Film Impact Online Course of 2027 to the value of R18000 and a R7500 grant towards a first impact screening of the film.

Includes optional inclusion in the Sunshine Cinema distribution catalogue.

• PÜLÖ: BLOODSTREAM OF THE KIRIKE (Nigeria)

Producer/Director: Christina Ifubaraboye

• ON THE SEA ROAD (Palestine)

Director: Fitnat Waked with participation of Nour Obaid

Category – Market/Event Participation Award

DFMI Talents Durban Award

Flights, accommodation and accreditation to participate in the DFM Pitch and Finance Forum 2027

THE BASEMENT (Democratic Republic of Congo)

Director:  Mélanie K. ZAWADI

Sørfond Award

Flights, accommodation and accreditation to  participate in the Sørfond Pitching Forum and a pitch course

• THE BOY WHO SPOKE STATIC (Nigeria)

Agbajowo Collective: Temitope Ogungbamila, Samuel Okechukwu, Mat Cerf (Lead Producer) and Bisola Akinmuyiwa

• WHERE DO I BELONG? (Sudan)

Producer: Talal Afifi

Director: Ibrahim "Snoopy" Ahmad

Rotterdam Lab Award

5 nights’ accommodation and accreditation to participate in the Rotterdam Lab

FOUR MONTHS AND TEN DAYS (Sudan)

Producer: Samo Hussein

Co-producer: Anna Stylińska

Director: Alyaa Musa

The DOK Leipzig Award

3 nights’ accommodation and 2 accreditations to participate in DOK Leipzig 2027 as the selected project in the DOK Co-Pro Market

THE ONES WITH THE TEMPERED FLOWERS (Kenya)

Producer: Ivy Kiru

Director: Neema Ngelime

The FIDADOC Award

Flights, accommodation and accreditation to participate in the FIDADOC Pan African Writing Residency 2027

• THE BIRTH OF DERNA (Libya)

Director: Hussein Eddeb

• FITAMPOHA, THE RETURN OF THE KING OF MENABE (Madagascar)

Director: Ramaroson Anatole 

Movies that Matter Award

Accommodation and accreditation to attend Movies That Matter 2027

THE ONES WITH THE TEMPERED FLOWERS (Kenya)

Producer: Ivy Kiru

Director: Neema Ngelime

Animation Production Days (APD) Award

3 nights’ Accommodation and Industry badge (producer accreditation) to participate in Animation Production Days 2027

SUNDAY MORNING (Ethiopia)

Producer: Nahom Abiy

Director: Minasie Terefe

DOK.fest München Award

4 nights’ accommodation and 2 accreditations for the project team and to attend DOK.fest München 2027 and participate in the DOK.forum marketplace

WHERE DO I BELONG? (Sudan)

Producer: Talal AfifI

Director: Ibrahim "Snoopy" Ahmad

Sheffield Doc Fest Award

4 nights’ accommodation to attend the Sheffield DocFest 2027 with an Industry pass and a full waiver to submit to the MeetMarket  

THE ONES WITH THE TEMPERED FLOWERS (Kenya)

Producer: Ivy Kiru

Director: Neema Ngelime

NEWF Post-Production Residency Award

A post-production residency at eKhaya, NEWF’s Storytelling, Research and Dive Centre (maximum 3 team members)

THE BIRTH OF DERNA (Libya)

Director: Hussein Eddeb

NEWF Summit Attendance Award

NEWF Summit attendance, including flights and accommodation (maximum 2 team members)

SECOND BLOOM (Zimbabwe)

Director: Tendaiishe Chitima

El Gouna Emerge Award

7 nights’ shared accommodation,ground transport and accreditation for El Gouna Film Festival 2026

• THE BIRTH OF DERNA (Libya)

Director: Hussein Eddeb

• CAUSE, EFFECT & MAYBE CONSEQUENCES (Nigeria)

Director: Cheyi Okoaye

Talents Press Award presented by CIFF and FIPRESCI

Flights, 5 nights’ accommodation and accreditation for Cairo International Film Festival 2026 for the selected Talents Press participant

NEYA Harouna (Burkina Faso)

TFL x IEFTF Next Award (TorinoFilmLab)

A place in the TorinoFilmLab programme, with the stage of development to be determined with the Lab

FOUR MONTHS AND TEN DAYS (Sudan)

Producer: Samo Hussein

Director: Alyaa Musa

Visions du Reel Award

Accommodation and accreditation and to participate in the Visions du Reel Market 2027 THE ONES WITH THE TEMPERED FLOWERS

Producer: Ivy Kiru

Director: Neema Ngelime

Category – Mentorship, Distribution and Membership

Women Make Movies Award

Best Pitch by a Women Filmmaker. Acceptance into the Production Assistance Program, which includes fiscal sponsorship allowing filmmakers to raise grants in the U.S.; individualised fundraising, distribution and ongoing project consultations, including feedback on rough cuts; a project page on WMM’s website to facilitate online donations; access to WMM’s catalogue of more than 700 films; social media support for crowdfunding campaigns, screenings and events; promotion of the completed film; one year of free WMM webinars on the business side of the business and case studies; and scheduled use of WMM’s NYC office, including the conference room for meetings or rough-cut screenings.

ON THE SEA ROAD (Palestine)

Director: Fitnat Waked with participation of Nour Obaid

Impronta Films Consultancy Award

Distribution consultancy

• WAITING FOR EVOLUTION (South Africa)

Producer/Director: Karin Slater

• DESIGNING DIVIDE (South Africa)

Producer/ Director: Jessie Ayles

The Wrapped App Award: Wrapped premium subscription of 3 months worth R31500

SECOND BLOOM (Zimbabwe)

Director: Tendaiishe Chitima

The 17th Durban FilmMart,  held in association with MultiChoice, with principal funding from the National Lotteries Commission and the National Film and Video Foundation, and the support of the Ford Foundation, Netflix, MTN Group and the Industrial Development Corporation, among others.

The success of the annual Durban FilmMart is made possible through the generous support of funders and partners, eThekwini Municipality, Durban Film Office, Ford Foundation, National Film and Video Foundation, Splashout, MTN Group, KwaZulu-Natal Tourism and Film Authority, Expertise France and GIZ, The International Emerging Film Talent Fund, NEFTI, Industrial Development Corporation, Netflix, CNC, Department of Trade, Industry and Competition, Arab Culture Fund, Avalon Group, French Institute of South Africa, Animation SA, African Producers Accelerator, Berlinale Talents, Canada High Commission of South Africa, Caribbeantales and the Cross Continental Forum, Chiriseri Studios, Climate Story Labs Africa, Cape Town International Animation Festival, Dante Languages, Department of Communication and Digital Technology, Disabled Audio-Visual Worker's Network, Documentary Filmmakers Association, Durban International Film Festival, Doc Society, Docubox, Documentary Africa, Durban University of Technology, Eastern Cape Development Corporation, Embassy of Cote d'Ivoire, European Audiovisual Entrepreneurs, FIVA, FIPRESCI, Gauteng Film Commission, Independent Black Filmmakers Collective, IMPACT (Canada), Independent Producers Organisation, Habesha Creative, Ladima Foundation, Nature Environment Wildlife Filmmakers (NEWF), South African Audio Visual Cluster, South African Guild of Actors, South Africa Guild of Editors, Society of Motion Picture and Television Engineers, Storyboard Collective, Sisters Working in Film and Television (SWIFT), SASFED, Palestine Film Institute, Tunga Media Afrika, WGSA, WiC.  Media Partners include Arena Holdings and Variety.

REEL BALANCE: Pan-African Film Festival Gender Equity Project- Launches at the 17th Durban FilmMART

In a first for the African film ecosystem, seven of the most influential women-focused film advocacy organizations have united for one cause: to ensure gender equity at African film festivals.

REEL BALANCE, initiated by The Ladima Foundation and the Durban FilmMart, is being implemented in partnership with Rawiyat SIF (Sister in Film), Sisters Working in Film & Television (SWIFT), Womxn Activating Transformation Africa (WATA), Girls in Film SA, African Female Filmmakers Collective (AFFC), and African Women in Animation.

REEL BALANCE is tangible and collaborative intervention constructively engaging with over 50 film festivals in Africa to secure a commitment to increase the representation of women, both on screen and behind the scenes.  

Informal research conducted by The Ladima Foundation in early 2026 from 12 film festivals on the continent revealed two key challenges. Firstly, it is apparent that it is extremely difficult to access the data required to accurately interrogate and understand the issues of gender representation at film festivals in Africa. Despite this lack of access to data, the research did clearly yield a second insight; the significant need to increase the representation of films directed and produced by women, and particularly African women at film festivals in Africa.

REEL BALANCE has been designed to address both of these challenges, working in partnership with film festivals via a pledge to be signed that will commit signatory festivals to strive for 50/50 representation for films directed or produced by women, but also in management and jury positions, and in terms of participants in panels and workshops at festival events.

Signatory festivals also commit to sharing data on the number of women filmmakers submitting films, as well as the numbers of those selected. The compiling, benchmarking and reporting on this data over the coming years will be an integral part of the initiative and inform best practice solutions to address identified challenges.

To support this process, REEL BALANCE will harness the power of the eight participating partners who will activate extensive networks across the continent to promote participating festivals and encourage women filmmakers to submit their films to significantly increase the pipeline of available films for selection.

REEL BALANCE is founded on partnership and collaboration, as The Ladima Foundation’s Executive Director Lara Utian explains,

“Since its inception in 2018, The Ladima Foundation has worked to address the significant gender imbalances within the film landscape in Africa. We understand that lasting and impactful change takes place only through collaborations and partnerships.  This is why we are particularly excited to have initiated REEL BALANCE along with the DFM, and to have been able to partner with so many other like-minded organizations on the continent. The fact that so many festivals have already signed the pledge is inspiring and, with our partners, we will continue to engage more festivals over the coming weeks and months.  We will also work closely with signatory festivals to support them and to find constructive solutions to address issues of gender imbalance. In partnership with these signatory festivals, we believe that change can and will happen and that we will see more African women represented both on and off screen in the years to come.”

Nineteen festivals have already signed the pledge, reflecting the commitment of their leadership teams to supporting gender equality and transforming Africa’s film festival landscape. These festivals are to be applauded for their willingness to be leaders in the industry and to make intentional efforts to ensure gender parity at their events and REEL BALANCE will work to support and promote these festivals as we work together in the coming years. 

Film festivals that have signed the pledge to date include:

●      Kitale Film Week (Kenya) https://kitalefilmweek.org/

●      Bantu Film Festival (Botswana) https://filmfreeway.com/BantuFilmFestival

●      Juiced Short Film Festival (Kenya) https://filmfreeway.com/JuicedFilmFestival

●      Kilifi Creek Festival (Kenya) https://kilificreekfestival.com/

●      Mashariki African Film Festival (Rwanda) https://www.masharikifestival.org/

●      Ethiopian International Film Festival (Ethiopia) https://www.facebook.com/ethioiff/

●      Animatex Animation Festival (Egypt) https://animatex.net/

●      Fak'ugesi Festival (South Africa) https://fakugesi.co.za/

●      Cameroon African Animation Film Festival (Cameroon) https://canimaf.org/index.php/en/

●      AVIJOZI (South Africa) https://avijozi.com/

●      Durban International Film Festival (South Africa) https://ccadiff.ukzn.ac.za/

●      Joburg Film Festival (South Africa) https://joburgfilmfestival.co.za/

●      Encounters South African International Documentary Festival (South Africa) https://encounters.co.za/

●      FESPACO (Burkina Faso) https://fespaco.bf/en/welcome-to-fespaco/

●      Zanzibar International Film Festival (Zanzibar) https://www.ziff.or.tz/

●      FAME Week Africa (South Africa) https://www.fameweekafrica.com/

●      LIFANIMA - Nigeria’s Animation Festival (Nigeria) https://lifanima.com/

●      Luxor African Film Festival (Egypt) https://www.luxorafricanfilmfestival.com/

●      Festival International du film de l'océan Indien (Reunion Island) https://fifoi.re/

All film festivals within the African continent are invited to become part of this movement and to sign the pledge. Interested festivals can contact lara@ladima.africa for more information.

REEL BALANCE was officially launched on 10 October at the Durban FilmMart who are co-founders of the initiative with Magdalene Reddy, Director of Durban FilmMart Institute explaining their support:

“Since its inception, the Durban FilmMart's purpose has been to develop, support and sustain the African film industry, and to shape how African storytelling is represented in the global market. Partnering with The Ladima Foundation on REEL BALANCE is a natural progression of that mission. Lasting change in on-screen representation begins behind the scenes, with the people who select, programme and decide. As the leading film market in Africa, we can speak directly to festivals and industry players in a way advocacy alone cannot. We are using our platform to open the pipeline for African women filmmakers, and to ensure that the commitment is measured, not merely stated.”

REEL BALANCE will continue to engage with film festivals across the continent to sign the pledge as well as to encourage women filmmakers to submit films to signatory festivals. Updates will be issued via media and across partner organization social media platforms.

For more information: www.ladima.africa

SPAR KZN Schoolgirls’ Fast 5’s Netball Challenge Pietermaritzburg Regional - Epworth School: Saturday 10 October

Ending on a high, Edendale Technical High School earned their second victory in the Pietermaritzburg Regional, the final regional wrapping up the sixth year of the SPAR KZN Schoolgirls’ Fast 5’s Challenge, hosted by Epworth School on Saturday 10 October.

An undefeated St John’s D.S.G. met an unstoppable Edendale in the final game after both teams paved their way topping their respective pools and then conquering their opponents in the semi-finals. Edendale who first hoisted the trophy in 2024, got the game underway but a rapid intercept gave St John’s the edge to net the first goal after only 25 seconds of play. Edendale responded 20 seconds later, levelling the scoreline. 

Up high, down low. Luthando Kheswa from Edendale Technical High School feeds the ball up to the midfielders, under the defences of Pietermaritzburg Girls’ High School’s Sthandiwe Madikizela during the semi-final of the SPAR KZN Schoolgirls’ Fast 5’s Netball Challenge that took place at Epworth School on Saturday 10 October.  Photo by Rogan Ward.

Edendale’s Miya Ayabonga and Ndlovu Azande shared the spoils in the first half, basketing 8 goals to St Johns’ 4. Getting the second half underway, the tiny crackerjack centre, Madondo Aphiwe quickly piled on the pressure, sending the ball up to her feisty forwards. Shifting a gear, the agile Edendale team wasted no time to add to their halftime tally with Ayabonga securing a point from under the goal.

St John’s only scored once in the second half – thanks to a stunning Noella Edkins 2 pointer that looped into the goal after two and a half minutes of play. Content with nudging the scoreline up by 1 pointers, Edendale increased their total with surefire shots from just under the goal. On the rare occasion that the St John’s attackers had the luxury of an opportunity, the Edendale defence quickly shut down the surge, forcing St John’s to brave the more challenging long-range shots in the hopes of catching up Edendale’s ever-increasing total. 

Conducted by the agile Aphiwe, who created space in every play, moved the ball around to her ‘on their toes’ shooters, with the clock winding down, the Edendale forwards were given the freedom for some more flamboyant attacks, airing several near crackers that hit the rim and frustratingly fell out of play. The final score was a convincing win for Edendale, 17 – 6. 

This year’s regional drew the biggest entry since the tournament’s inception, with 18 schools vying for the title. They were broken up into three pools with the log leader advancing to the semi-finals, and the ‘wild card’ entry going to the team with the highest number of goals scored. 

Featuring in their second SPAR KZN Fast 5’s, St John’s who made the regional final last year met Grace College, also making their second appearance at the tournament, played in their first semi-final. The scoreline went in favour of St John’s 8 – 4. In the second semi-final, two times winner and defending champs, Pietermaritzburg Girls’ High School claimed the ‘wild card’ entry netting 60 goals in total, one more than host school, Epworth School. Keen to keep their record of reaching the regional final every year, Girls’ High went on to meet the formidable Edendale. Continuing their tempo, Edendale dominated the game, punching their ticket for the final with an impressive 14 – 6 result. 

After 48 games, 384 minutes and 682 goals, the final regional wraps up this year’s challenges with planning already underway for a fantastic 2027 season. 

For more info on the challenge, follow it on its various social media channels.

Results

Regional Final

Edendale Technical High School 17 vs St John’s D.S.G. 6

Semi-Finals

St John’s D.S.G. 8 vs Grace College 4; Edendale Technical High School 14 vs Pietermaritzburg Girls’ High School 6

Pool A

1 St John’s D.S.G. 15pts; 2 Etham College 12pts; 3 Russel High School 7pts; 4 Treverton College 7pts; 5 Maritzburg Christian School 3pts; 6 St Nicholas Diocesan School 0pts

Pool B 

1 Grace College 13pts; 2 Pietermaritzburg Girls’ High School 12pts; 3 St Anne’s Diocesan College 7pts; 4 Riverwood College 6pts; 5 Greytown High School 6pts; 6 Zamazulu Secondary School 0pts

Pool C

1 Edendale Technical High School 15pts; 2 Epworth School 10pts; 3 Wartburg Kirchdorf School 7pts; 4 Umvuzo High School 6pts; 5 Albini Girls’ High School 3pts; 6 The Wykeham Collegiate 3pts

MultiChoice Puts the SA Creative Industry First at Durban FilmMart 2026

With a long history as a major investor in local storytelling, MultiChoice is heading to the 17th Durban FilmMart (9 to 12 October) to build new partnerships that will help turn South African filmmakers’ abundant supply of creative ideas into viable productions and grow businesses, careers and protect intellectual property.

The global production industry is facing sustained headwinds – and the South African creative industry is not immune to those. “A sustainable local content industry requires both investment and an enabling ecosystem in which producers can build businesses, women can progress into leadership, and where emerging professionals can access mentorship and opportunity,” says Willington Ngwepe, MultiChoice (Pty) Ltd CEO. “As the custodians of DStv’s content in South Africa, we understand the challenges that creators are facing while constantly listening to our customers to understand what they want to see on their screens – and we want to bring the supply and demand sides closer together with the right funding, training and support to continue to grow the industry we’ve invested in for over three decades”.

Willington Ngwepe, MultiChoice (Pty) Ltd CEO

Durban FilmMart has a long history of connecting filmmakers and producers with finance, co-production opportunities, industry expertise, international market opportunities and potential partners. Ideas and intellectual property must also be protected, and working with Partners Against Piracy MultiChoice is leading public awareness campaigns to educate consumers about the risk and damage of consuming pirated content, engaging with government authorities to put in place stricter regulation and legislation to protect intellectual content in the digital age, and supporting law enforcement agencies to prosecute pirates in South Africa and beyond the country’s borders. “Our participation at Durban FilmMart creates opportunities for direct engagement with independent producers, creators, policymakers, distributors, and other industry partners to help build, safeguard and promote our industry,” says Willington Ngwepe, MultiChoice (Pty) Ltd CEO.

“Having a partner of MultiChoice's stature alongside us is a significant milestone for the Durban FilmMart,” said Magdalene Reddy, Director of the DFM. “MultiChoice has a long-standing commitment to African storytelling, and their involvement strengthens our mission to connect filmmakers with the financing and partnerships they need. For filmmakers, this kind of access is invaluable. It means projects will engage with decision-makers who can help move them from concept to screen.”

MultiChoice representatives will be leading and participating in a series of discussions and events. On 9 October MultiChoice Head of Content Renee Jacobs and key content supplier CANAL+ Africa’s Head of Scripted Content Tebogo Matlawa will headline the discussion topic ‘Support and Funding of Local Content in SA’. 

Durban FilmMart, in association with MultiChoice, runs from 9-12 October at the Southern Sun Elangeni & Maharani on the Durban beachfront. Visit www.durbanfilmmart.co.za for more information.

To find more information on the sessions above, the rest of the Durban FilmMart Industry Programme and so much more, go to https://durbanfilmmart.co.za/

The 17th edition of Durban FilmMart, in association with MultiChoice and principal funding from the National Lotteries Commission, is supported by the following funders and partners: eThekwini Municipality, Durban Film Office, Ford Foundation, National Film and Video Foundation, Splashout, MTN Group, KwaZulu-Natal Tourism and Film Authority, Expertise France and GIZ, The International Emerging Film Talent Fund, NEFTI, Industrial Development Corporation, Netflix, CNC, Department of Trade, Industry and Competition, Arab Culture Fund, Avalon Group, French Institute of South Africa, Animation SA, African Producers Accelerator, Berlinale Talents, Canada High Commission of South Africa, Caribbeantales and the Cross Continental Forum, Chiriseri Studios, Climate Story Labs Africa, Cape Town International Animation Festival, Dante Languages, Department of Communication and Digital Technology, Disabled Audio-Visual Worker's Network, Documentary Filmmakers Association, Durban International Film Festival, Doc Society, Docubox, Documentary Africa, Durban University of Technology, Eastern Cape Development Corporation, Embassy of Cote d'Ivoire, European Audiovisual Entrepreneurs, FIVA, FIPRESCI, Gauteng Film Commission, Independent Black Filmmakers Collective, IMPACT (Canada), Independent Producers Organisation, Habesha Creative, Ladima Foundation, Nature Environment Wildlife Filmmakers (NEWF), South African Audio Visual Cluster, South African Guild of Actors, South Africa Guild of Editors, Society of Motion Picture and Television Engineers, Storyboard Collective, Sisters Working in Film and Television (SWIFT), SASFED, Palestine Film Institute, Tunga Media Afrika, WGSA, WiC.  Media Partners include Arena Holdings and Variety.

-ends

Build the Audience: WiC aims at African cinema’s missing link, audiences

Deepixels launches WiC, a new audience infrastructure initiative for African screen content, at Durban FilmMart 2026

DURBAN, SOUTH AFRICA: African cinema has spent decades building filmmakers, films, festivals, markets and production capacity. Yet one fundamental challenge remains: how d­­o African films consistently find, grow and sustain paying African audiences?

At Durban FilmMart 2026 (9-12 October), Deepixels will introduce WiC, Watch in Community, an audience infrastructure initiative designed to help build new audience markets for African screen content.

The launch forms part of a broader proposition Deepixels is bringing to the industry, that every film is made for someone, and the challenge is to find them.

WiC is being developed in response to the persistent gap between the creation of African screen content and the systems required to connect that content with audiences over time.

“Across African film, we have invested substantially in creative development, production capacity and market access,” says Toni Monty, Co-Founder of Deepixels. “The missing discipline has been sustained audience development. WiC is designed to help address that gap by building practical routes between content, audiences, transactions and exhibition, so that more African stories can find viable markets over time.”

Toni Monty

WiC connects digital discovery and ticket acquisition with physical exhibition, enabling screen content to reach audiences through a network of programmable venues and community-based cinema environments. The model brings together content discovery, programming, ticketing, exhibition and audience intelligence, creating a system through which audience relationships can be developed over time rather than ending with an individual screening or release.

“WiC is not simply a screening initiative or a streaming product,” says Ross Joughin, Co-Founder of Deepixels. “It is a connected technology system that brings content discovery, ticket acquisition, programming, venue operations, payments and audience intelligence into one operating environment. That integration is what enables the model to be tested, measured and refined as it grows.”

Ross Joughin

WiC does not position itself as a replacement for existing cinemas, festivals, broadcasters, streaming platforms or distributors. It is intended to create additional audience pathways and exhibition opportunities within the wider screen ecosystem.

WiC will be introduced to the film industry during a session at the 2026 Durban FilmMart titled: BUILD THE AUDIENCE: WiC takes aim at African cinema’s missing link: audiences, on Friday, 9 October 2026 from 11:15–12:00 at the Elangeni Hotel, Durban.

The session will explore the gap between content creation and sustained audience access, and introduce Deepixels’ approach to connecting content, communities, exhibition spaces, transactions and audience data within a new distribution and exhibition ecosystem.

The presentation will be led by Ross Joughin, with fellow Deepixels co-founders Toni Monty and Molise Ramaili and Content Partners Helen Kuun, Indigenous Film Distribution and Paul Robinson, NEFTI Films, joining the session for discussion and audience Q&A.

Delegates will also be able to experience WiC through a pop-up WiC Cinema, a dedicated screening venue presenting a curated programme of African screen content, and at the Deepixels / WiC exhibition stand, where they can engage with the platform and the wider audience-infrastructure model.

The WiC Cinema programme will bring together selected films submitted directly to WiC with titles presented in collaboration with WiC content partners Indigenous Film Distribution and NEFTI Films. NEFTI will contribute a curated short-film showcase, while Indigenous Film Distribution will bring selected titles from its catalogue into the programme, alongside a broader selection of African screen content. The full WiC Cinema programme, including screening times and participating titles, will be announced separately.

Building beyond Durban FilmMart

Durban FilmMart marks WiC’s public introduction and an important stage in its pilot development.

“WiC is also an industrial-development proposition,” says Molise Ramaili, Co-Founder of Deepixels. “It creates a framework through which local venues, operators, content owners and partners can participate in a new entertainment economy. The opportunity is to develop commercially viable community exhibition infrastructure, mobilise investment around it and build an enterprise model capable of expanding across markets.”

Molise Ramaili

Following DFM, Deepixels plans to continue testing the model through a South African pilot rollout, working with content partners, audiences, venue operators and other industry stakeholders to refine its commercial, operational and technical model. The longer-term ambition is to build scalable audience infrastructure capable of connecting more African stories with audiences across multiple markets.

“Deepixels is therefore using the DFM launch not simply to introduce a product, but to invite the industry into a larger conversation: if we want sustainable African cinema, we have to build sustainable African audiences,” concludes Ramaili.

For more information about WiC go to www.wicstream.com.

For more information about the Durban FilmMart go to: https://durbanfilmmart.co.za/

Africa's biggest retail and healthcare buyers head to Durban for Engage Trade Africa

Takealot, Amazon, Woolworths, Panda Saudi and Choitrams among the hosted buyers meeting African exporters at the Durban ICC, 6 to 8 October.

Some of the continent's and the Middle East's most influential retail, hospitality and healthcare buyers will be in Durban next month for Engage Trade Africa (ETA) and Engage Services Africa (ESA), returning to the Durban International Convention Centre from 6 to 8 October 2026.

The hosted buyer line-up includes South African retail heavyweights Takealot, Pick n Pay, Clicks and Woolworths, alongside global e-commerce giant Amazon. They will be joined by Panda Saudi, Choitrams Dubai and Lulu Supermarkets from the Gulf, and Kenyan retailers Quickmart and Naivas. The buyer group also spans the hospitality and healthcare sectors, with Good Life Pharmacies, Delta Pharmaceuticals and Luton Hospitals Kenya confirmed to attend.

Through pre-arranged B2B meetings, these buyers will sit down with African producers, exporters and service providers who are looking for new routes to market. The platform is built around hosted buyers who are flown in and accommodated, so exporters meet decision-makers with real purchasing authority, without the cost and uncertainty of prospecting new markets alone.

"This year's buyer delegation is one of the strongest we've assembled," says Rex Bowden of Catalyze, organisers of Engage Trade Africa. "Having Takealot and Amazon in the room alongside specialist importers from the Gulf and East Africa gives our exporters a genuinely rare mix of scale and reach in one place. For African producers, that's the difference between a good meeting and a market-changing one."

The programme goes beyond matchmaking. Confirmed speakers include Odirile Ramasodi of the Export Credit Insurance Corporation of South Africa (ECIC), Farha Goolam of InvestDurban and Akash Singh of PUM Netherlands, who will share insights on export finance, investment and building export-ready businesses. Takealot & DHL Go Trade will also take part in the speaker programme, with its representative to be confirmed.

The event reinforces Durban and KwaZulu-Natal's position as a gateway for trade into and out of the continent. Previous editions have drawn more than 350 buyers and partners from over 30 countries, more than 250 African producers, and delivered upwards of 4,000 pre-scheduled meetings.

Registration to exhibit, attend as a delegate or apply to the Hosted Buyer Programme is open at www.engagetrade.africa.

Durban FilmMart Industry Programme Goes Live for 2026 Edition

The Durban FilmMart Institute (DFM) has announced that the industry programme for its 2026 edition, taking place from 9 to 12 October in Durban, is now live. This year's line-up brings together sessions on equitable co-production, film financing, advocacy and lobbying, artificial intelligence and emerging formats such as vertical drama, alongside dedicated Impact and Animation Day strands and its partner-programmed offering.

 This programme reflects where the African film industry is currently: expanding audiences, growing co-production pathways and new capital arriving in new forms, but also asks real questions about advocacy, technology and who gets to shape the future of the sector,” says Magdalene Reddy, Director of the Durban FilmMart Institute.

Khosie Dali (financing panel). She is the award-winning South African producer behind Sons of the Sea, which won Best South African Film at DIFF. 

Sessions dealing with finance and film include Talking Cents: Where's The Change: Co-production Beyond Financial Collaboration which brings together filmmakers and organisations to reflect on collaborative methods grounded in collective responsibility and interconnectedness, while interrogating the future of collaboration. Then Talking Cents: More Than Making Cents: A New View on Financing Film explores non-traditional financing approaches, including cooperative ecologies that lead to greater creative control, narrative sovereignty and the retention of intellectual property.

Sam Soko (film financing panel). Soko's debut documentary Softie premiered at Sundance 2020 and won the Special Jury Award for Editing. His company LBx Africa produced the 2018 Oscar-nominated short Watu Wote. He has awards credentials and is a pan-African, activist-filmmaker.

African film industries are growing, but growth without protection is fragile. Who Is Fighting Our Corner? Film Advocacy and Lobbying on the African Continent is a panel featuring representatives involved in active advocacy and lobbying work across the continent, from guilds and professional associations to filmmaker collectives and civil society bodies. Here they will examine what advocacy looks like in practice, where it has succeeded and failed, and how audiences fit into the advocacy picture.

Marie Lora-Mungai (Advocacy and Lobbying). She is an investor and advisor whose firm has worked with IFC, Proparco, Afreximbank, Netflix and Warner Bros. She is outspoken on AI, having urged African filmmakers to use AI tools to create content independently. She's a quotable, business-press-friendly voice on "where the money is going”.

One of DFM Alumni success stories features in an inspiring case-study: From the DFM to the Croisette: Samantha Biffot on Producing "Ben'Imana". Producer Samantha Biffot traces the years-long journey of Ben'Imana, Marie Clémentine Dusabejambo's Rwandan-Gabonese drama, from its early development as a work-in-progress project at the DFM to its celebrated premiere in Un Certain Regard at the 2026 Cannes Film Festival, where it went on to win the FIPRESCI Prize and the Caméra d'Or. Biffot will discuss the realities of financing and packaging an international co-production across Rwanda, Gabon, France, Norway, and Ivory Coast, and what it takes to carry a story about memory and survival after genocide from a market pitch to the world stage.

Samantha Biffot (Ben'Imana session). Ben'Imana was the first feature from the African continent to win the Caméra d'Or, and it was also the first film by a Rwandan director in Cannes' official selection. It also took the FIPRESCI Prize. Biffot is the Gabonese producer who presented the project at La Fabrique Cinéma in 2022 with the director, and the DFM connection makes it a "from the market to the Croisette" success story. 

Artificial intelligence continues to be a hot topic across the film landscape, and animation filmmaking may be the most affected, given how integral the intersection of art and technology already is to the creative process.  In AI and Animation panellists interrogate what AI means for the world of animation filmmaking, the opportunities, the risks, and the long-term effect on a developing sector such as African animation

Hamid Ibrahim (AI and Animation). He is the CEO of Kugali Media, and the Disney+ series Iwájú he co-created earned three Children's and Family Emmy nominations. It was Walt Disney Animation's first collaboration with an independent company. Hamid's creative journey spans some of Hollywood's most iconic productions, including The Lion King (2019), Dumbo (2019), The Predator (2018), The Darkest Minds (2018), and Dolittle (2020).

Vertical dramas have exploded onto the international scene, reshaping how stories are consumed on mobile-first platforms and unlocking new revenue models for creators. In Short Form, Big Impact: The Rise of Vertical Dramas panellists examine the format's rapid global rise and its emerging footprint on the African continent, and whether it could become a viable new pathway for content and commerce.

Flavia Motsisi of Both Worlds Media, Development Executive and Creative Producer, brings with her over a decade of experience shaping award-winning African television and film. An International Emmy nominee and a Forbes Africa honoree for her contribution to scripted content.

These sessions feature as just a small part of the Durban FilmMart’s extensive four-day industry programme. This year's Industry Programme is built around a single conviction: that the African film industry's future depends on the strength and honesty of its relationships — with capital, with audiences, with partners abroad, and with itself.

The Co-production Focus stream interrogates what genuine partnership looks like in practice, from sessions like Fruits of Labour: Service as a Form of Coproduction, which asks whether South African service companies deserve recognition as true collaborators, to South Africa as Coproducing Partner, which confronts the administrative turbulence currently testing the country's long-standing treaty network, through to Brazil-Africa: Building Bridges Through Coproduction, which looks outward to new South-South alliances.

Minnie Harris Head of MTN Group Digital Service Verticals and Markets

That same spirit of scrutiny runs through The Power of Programming stream, where sessions on industry programming itself and the pressures facing the international festival circuit ask what infrastructure the sector still lacks and who is being left out of it, while two closed-door think tanks on distribution and audience design push past diagnosis into practical strategy for reaching African audiences on their own terms.

Sector-specific strands deepen the picture with CTIAF's Animation Day, tackles the business of building a sustainable animation industry; Doc Society and its partners' Doc Day: Impact Edition reframes impact producing as a discipline as rigorous as directing or financing; and NEWF's Beyond the Wild sessions push natural world storytelling toward questions of spirituality, authorship and ownership.

Threaded through all of it is a set of international partnerships- most visibly the Canadian delegation and the Cross Continental Forum's 25th-anniversary panel, that embody DFM's core mandate to be the meeting space where shared interest across continents becomes something built together.

To find more information on the sessions above, the rest of the Durban FilmMart Industry Programme and so much more, go to https://durbanfilmmart.co.za/

The 17th edition of Durban FilmMart, in association with MultiChoice and principal funding from the National Lotteries Commission, is supported by the following funders and partners:

eThekwini Municipality, Durban Film Office, Ford Foundation, National Film and Video Foundation, Hollywood Foundation, MTN Group, KwaZulu-Natal Tourism and Film Authority, Expertise France and GIZ, The International Emerging Film Talent Fund, NEFTI, Industrial Development Corporation, Netflix, CNC, Arab Culture Fund, Avalon Group, French Institute of South Africa, Animation SA, African Producers Accelerator, Berlinale Talents, Canada High Commission of South Africa, Caribbeantales and the Cross Continental Forum, Chiriseri Studios, Climate Story Labs Africa, Cape Town International Animation Festival, Department of Communication and Digital Technology, Disabled Audio-Visual Worker's Network, Documentary Filmmakers Association, Durban International Film Festival, Doc Society, Documentary Africa, Durban University of Technology, Eastern Cape Development Corporation, Embassy of Cote d'Ivoire, European Audiovisual Entrepreneurs, FIVA, FIPRESCI, Gauteng Film Commission, Independent Black Filmmakers Collective, IMPACT (Canada), Independent Producers Organisation, Habesha Creative, Ladima Foundation, Nature Environment Wildlife Filmmakers (NEWF), South African Audio Visual Cluster, South African Guild of Actors, South Africa Guild of Editors, Society of Motion Picture and Television Engineers, Storyboard Collective, Sisters Working in Film and Television (SWIFT), Palestine Film Institute, Tunga Media Afrika, WGSA, WiC.  Media Partners include Arena Holdings and Variety.

Four African Screenwriters Selected for the AuthenticA Series Lab taking place in Ethiopia, France and Switzerland)

The Realness Institute, in partnership with The StoryBoard Collective and supported by the Canada Media Fund and the Series Mania Forum, has announced the four African participants for the 2026 AuthenticA Series Lab, the fifth edition of the programme which gives screenwriters a unique opportunity to shape their original concepts into episodic storytelling across any genre.

The cohort includes Lagos-based writer, director and cinematographer Lateefah Mayaki; award-winning Ghanaian-Canadian writer and filmmaker Lindsey Addawoo; acclaimed South African writer/director Phumi Morare; and multi-hyphenate Cameroonian-born writer, filmmaker and cultural entrepreneur Sahndra Fon Dufe.

AuthenticA is designed to give participants what they need to take their projects to market: a professionally developed pitch deck and completed pilot script, each built to international industry standards. Writers retain full intellectual property rights over all material they develop through the programme.

The programme opened with an 8-day in-person residency in Ethiopia from 17–25 September 2026, followed by online sessions running until 14 January 2027. A second in-person residency follows in Geneva, Switzerland, from 19 January to 21 March 2027. The final residency takes place in Lille, France, from 22–26 March 2027, where the fellows will pitch their projects as part of the African Series Pitch at Series Mania Forum — Europe's largest co-production series market and festival, attracting talent scouts, sales agents, broadcasters, investors and distributors.

Throughout the six-month journey, the fellows will be mentored by Mehret Mandefro as Director of Producing and Showrunning and Selina Ukwuoma as Director of Writing Programmes.

“Going into the fifth year of this lab, offering writers the time, mentorship and industry access to turn an original idea into a market-ready series seems even more important in light of what is going on in the world,” says Mehret Mandefro. “We need to write a new world and that begins with supporting fresh voices that have something to say.”

“We continue to build on the work of the last four years showcasing the multiplicity of original African voices. This year’s unprecedented all-female group of storytellers gives us a glimpse into four more fascinating worlds we have not yet encountered on screen. I’m so looking forward to delving into these rich and rewarding stories with them,” says Selina Ukwuoma

“Through AuthenticA, we are proud to support African storytellers whose diverse voices and bold stories strengthen the global conversation and bring truly international content to the fore,” says David Rimer - Founder of The StoryBoard Collective.

Submissions this year came from 144 applications, over 27 countries, covering over 20 genres of television series.

For more information visit the Realness Institute website at: www.realnessinstitute.com

Durban FilmMart Welcomes Canadian Delegation

The Durban FilmMart Institute (DFMI) will welcome a delegation of Canadian film professionals to this year's market that takes place from 9 to 12 October.   The delegation's presence, presented in partnership with the High Commission of Canada Trade Office in South Africa, is anchored by a dedicated speed-meeting session connecting Canadian filmmakers with DFM delegates.

“Canada has long been one of South Africa's strongest coproduction partners, and this delegation builds on a relationship with the Canadian High Commission that we've been growing year on year,” says Magdalene Reddy, Director of the Durban FilmMart Institute. “South Africa's co-production treaty with Canada gives our filmmakers real, practical access to Canadian financing, expertise and markets, and vice versa. Durban FilmMart exists to be that meeting space; a hub where international delegations like this one can sit across the table from African producers and turn shared interest into actual projects.”

SPEED MEETINGS: MEET THE CANADIAN FILMMAKERS

Presented in partnership with the High Commission of Canada Trade Office

Durban FilmMart delegates will have the opportunity to meet selected film professionals from Canada, with the opportunity to finance, distribute, co-produce and collaborate. The Canadian delegation brings together an award-winning, genre-spanning group of 17 producers, writers and directors working across documentary, fiction, animation and factual formats - with slates spanning genre and elevated-genre features, impact-driven documentary, BIPOC-led storytelling and international co-production, from across Canada.

Alex Bogomolov, is CEO/Producer, at Apsis Pictures (British Columbia) an independent production company handling full-cycle development, financing, production and delivery for genre and elevated-genre features.

Amy Miller, is a Producer, with Wide Open Exposure Productions, who has for more than two decades, produced bold documentaries investigating the political, environmental, historical and cultural forces shaping the world, screening at 150+ international festivals. The company is now focused on expanding international collaborations through documentary co-production.

Annette Clarke is a Producer, at Ruby Line Productions Inc, and a National Film Board of Canada veteran who has produced or co-produced 100+ films.

Chibie Louis-Okoye, is Founder/Producer, at Colo Studios who is also a media entrepreneur whose work is shaped by spirituality, Africa and social themes. She produced KOFA (2024), which debuted at Number 1 in Nigeria on Amazon Prime Video and won Best Feature Film at AFRIFF.

Danilo Reyes, is Founder/CEO, Blue Maroon Media, and is also an actor and musician striving to diversify the voices and faces on screen. An alumnus of Reelworld's BEP Producer's Program and the CMPA Producer Mentorship Program, Danilo is currently developing a slate of television series and feature films.

Eritrean-Canadian filmmaker Feven Ghebremariam, is Founder/CEO of Zantana Media who is working at the intersection of cinema and community engagement, whose work explores diaspora, colonial legacy and belonging. Feven is a co-founder of Black on Black Films, a collective supporting Black filmmakers in Quebec.

Ian Mark Kimanje, is a Producer at Film Garage Studios that develops premium documentary and impact-driven content connecting culture, identity, science and social change, with relationships spanning Canada, Africa, the Caribbean, Europe and the US.

Katia Café-Fébrissy, is Producer/President, KaFé Productions Inc., a bilingual production company dedicated to telling bold, intimate stories that amplify fresh and underrepresented voices.

Letay Williams, is a Writer/Producer, at A Little Happy Media. She is the Founder of a production company amplifying BIPOC talent for global audiences.

Nina Dube, is Trade Commissioner, High Commission of Canada Trade office in South Africa. The Canadian Trade Commissioner Service helps Canadian export-ready companies navigate the complexities of international markets. Representatives from the Canadian Trade Office will be available throughout Durban FilmMart to facilitate introductions, support networking opportunities, and explore potential partnerships and co-production opportunities between Canadian and South African industry stakeholders.

Patricia Sims, is the President/Producer at CanazWest Pictures which has produced award-winning documentaries and factual series for CBC, Discovery Channel, ARTE, NHK and others. Patricia is also the Founder of World Elephant Day, a global awareness campaign reaching over 2 billion social media impressions.

Roble Issa, is Producer, Gobez Media Inc.an Ethiopian-Canadian production company creating documentary, fiction and digital content rooted in Africa and its diaspora. Recent projects include Finding Sally and the Emmy-nominated Made in Ethiopia, with work screened at Cannes, TIFF, Tribeca and FESPACO.

Samantha Kaine, is an activist, mentor and speaker; founder and CEO of IMPACT (Independent Media Producers Association of Creative Talent). She is a Jamaican-Canadian producer working at the intersection of AI, cultural policy and economic inclusion. Samantha leads IMPACT's accelerator programmes supporting Black mid-career producers across Canada and the diaspora, and serves on the AI Committee of the Coalition for Diversity of Cultural Expressions. IMPACT is also a co-partner of the 2026 Canadian delegation to DFM.

Sarlota Csete, is Director, Mentorship, International Development & Board Secretary (CMPA (Canadian Media Producers Association).  Sarolta leads international development initiatives at the CMPA, fostering global partnerships and co-production opportunities for Canadian producers. A co-partner of the Canadian delegation to DFM 2026, the CMPA is Canada's leading advocacy organization for independent producers, dedicated to helping Canadian producers establish international partnerships and bring their content to screens around the world.

Shane LaTouche, is Founder/CEO, Toronto Black Media Productions, a producer and cultural creative focused on projects for Black and Caribbean communities. He also volunteers as Executive Director of the Toronto Black Media Association.

Shannon Walsh, is Producer/Director at Last Songbird Productions, and is an award-winning filmmaker and Guggenheim Fellow producing documentary and fiction features, shorts, VR works and music videos centred on bold, underrepresented voices.

Sylvester Ndumbi, is Founder/Producer, at Simba Creative, and leads an award-winning production company creating scripted, documentary and unscripted content for global audiences, with fifteen years of Canadian broadcast credits and productions screened at UN events worldwide. Simba Creative is actively expanding its international co-production slate.

The Canadian delegation's presence at Durban FilmMart demonstrates, a growing interest in building sustainable co-production pathways between the Canadian and South African audio-visual industries, with opportunities spanning documentary, fiction, genre and digital content.

To find out more about the Canadian delegation as well as others attending the 2026 edition of the DFM, go to https://durbanfilmmart.co.za/.

Mother City Brings Groundbreaking Documentary to the Big Screen in Nationwide Cinema Release

Acclaimed groundbreaking indie documentary Mother City, set for screenings at Ster-Kinekor, giving audiences across South Africa the opportunity to experience the film on the big screen.

Documentaries have long played second fiddle to fiction on the big screen, but that's changing. Audiences worldwide are increasingly choosing the cinema for non-fiction storytelling, and Mother City, directed by Miki Redelinghuys and Pearlie Joubert, is riding that wave with a nationwide release at Ster-Kinekor Cinemas from 1 October.

The documentary will screen at selected Ster-Kinekor cinemas nationwide, with ticket prices at R50. The release marks a significant moment for local non-fiction filmmaking, bringing an acclaimed South African documentary to a wider cinema audience at an accessible ticket price. 

March to Woodstock Police - Credit: Barry Christianson

Mother City followed Cape Town’s Reclaim the City activists' six-year fight for affordable housing on public land, and the story is centred on the iconic old Tafelberg School site, situated in the Atlantic Seaboard. The film kept the case in public view and amplified the voices of activists and the Ndifuna Ukwazi legal centre, turning the documentary into a tool for sustained pressure. In July 2026 the Constitutional Court ruling declared the Tafelberg sale unlawful, affirming the movement's core argument that the government has a constitutional duty to provide affordable housing within the inner city, and that high property values or land scarcity can't be used as an excuse to avoid that duty. The ruling ignited audiences’ urgent requests  to see Mother City that follows - blow by blow - the thrilling courtroom drama and bold activism. 

Told with raw honesty, fearless journalism, a cinematic eye, and genuine edge-of-your-seat tension, Mother City is exactly the kind of documentary changing what audiences expect from the genre.

Occupy Rondebosch Golf Course - Credit: Barry Christianson

Mother City’s journey to South African cinemas is itself part of the story. Since premiering at Sheffield DocFest in 2024, the film has screened more than 180 times at festivals and venues around the world, picking up numerous awards along the way. Its festival success and international screenings have built strong momentum ahead of its South African cinema release.

“We made Mother City to be seen, not just at festivals, but by the communities whose stories it tells. Having Ster-Kinekor bring the film to cinemas nationwide is proof that South African audiences want to see their own realities reflected on the big screen. Land and housing activism in South Africa is uniquely powerful, innovative, reflecting our shared humanity” says Pearlie. 

Miki concurs “This isn't just a milestone for the film; it's a milestone for what a local documentary can achieve by bringing these urgent and evocative stories of ordinary people to the big screen.”

DATES

Thu 1 Oct 17:00 / Sat 3 Oct 14:30 / Sun 4 Oct 14:30 / Thu 8 Oct 20:00

Western Province: V&A Waterfront, N1 City, Blue Route Mall, Somerset West Mall

Gauteng: Rosebank Nouveau, Eastgate Mall, Brooklyn Mall

Kwazulu-Natal: Watercrest Mall

Eastern Cape: Baywest Mall

For tickets : https://www.sterkinekor.com/f/mother-city/722

Durban FilmMart expands 2026 line-up with animation, impact producing and natural world storytelling partnerships

Durban, South Africa – September 2026 – The Durban FilmMart (DFM) has announced an expanded partner programme for its 17th edition, running in Durban from 9 to 12 October 2026. Three new industry strands - developed with the Cape Town International Animation Festival (CTIAF), a coalition of documentary impact producing organisations, and the Nature, Environment and Wildlife Filmmakers organisation (NEWF) - bring animation, impact producing and natural world storytelling into DFM's core programme.

"This year's partner programme strands reflect exactly the kind of collaboration DFM exists to enable,” says Magdalene Reddy, Director of the Durban FilmMart Institute. "We are always open to working with organisations who share our commitment to strengthening the African film ecosystem, and these partnerships allow us to bring specialist expertise into the DFM programme for the benefit of the filmmakers and industry professionals we serve."

ANIMATION DAYS - with Cape Town International Animation Festival (CTIAF)

The strand moves the conversation beyond talent to infrastructure: financing, studios, audiences and IP. 

"Animation is often talked about as if the only question is whether Africa has the talent," says Dianne Makings, Festival Director of CTIAF. "We know we have the talent. The bigger question is what happens next; who commissions the work, who finances it, who builds the studios, who develops the audiences and how do we create an industry that allows African creators to keep making African stories." 

Sessions include Innovate. Animate. Elevate.: From Cape Town Studio to Global Market, on building a real studio cluster; Beyond the Festival Circuit: Who Is Watching African Animation?, tracing the pipeline from commissioning to audience development; and Too Big for Grants, Too Small for Investors: The Missing Middle, on financing the jump from small teams to scalable studios. The programme also features a WATA Creative Workshop for women in African animation and gaming, plus studio networking and a screening of CTIAF's Best of 2026 selection.

IMPACT DAY - with Documentary Africa, The StoryBoard Collective, Perspective Fund, Real Reel Impact, Doc Society, Climate Story Labs Africa, Tunga Media Afrika, UCT Centre for Film and Media Studies, Climate Story Lab ZA, Climate Story Lab Lagos, South x Sul Network and UMI Fund

A full-day working forum on impact producing across the filmmaking lifecycle - not just at delivery. Highlights include a case study on Children of Honey, presented by Odera Onyore Nyambok II (Documentary Africa); an Impact Hackathon building live strategies for three documentary projects; case studies on Get Reel and Murder in Paris; a fishbowl discussion on impact financing with Doc Society, DocuBox and Documentary Africa; and The Climate Cine-bar, a screening-and-dialogue session on films that move audiences beyond the screen.

Top Row (L-R): Mohamed Saïd Ouma (Documentary Africa), Miki Redelinghuys (Plexus Films), Matamba Kombila (Dougantsi Films), Dr Liani Maasdorp (UCT Centre for Film and Media Studies, Climate Story Lab ZA, RRI Mentor)

Middle Row (L-R): Enver Samuel (EMS Productions), Khadidja Benouataf (Impact Social Club and RRI Mentor), Julian Etienne (Doc Society)

Bottom Row (L-R): Wanja Emily (Doc Society), Cindy Makandi (Tunga Media Afrika), Anthony Ochieng Onyango (TonyWild Foundation), Susan Mbogo (DocuBox)

NATURAL WORLD STORYTELLING - with NEWF

"So many of the stories emerging from the continent remind us that nature is not separate from people," says Pragna Parsotam-Kok, Executive Director, NEWF. "Social, environmental and climate justice intersect, conservation films explore people and place, and stories about the natural world can move between documentary, fiction and natural history. Now more than ever, it matters that African voices are part of global conversations about our environment, nature and wildlife. Together, we hope to invite filmmakers who may not yet see themselves as nature world storytellers, to bring their voices, craft and perspectives to the wild side; and to expand what natural world storytelling can be, who gets to shape it and how these stories are shared with the world.”

Sessions include Beyond the Wild: Representing Nature and Spirituality on Screen, with Pippa Ehrlich, Zolani Mahola, Dr Gcina Mhlophe and Gogo Lindi Dlamini; Beyond the Wild: Getting the Shot, on wildlife cinematography with NEWF Fellows; and Beyond the Wild: Expanding Stories About the Natural World. Delegates can also explore The NEWF Room, an immersive exhibition featuring 360° VR from Zululand to Sodwana Bay's reefs and the multiplayer game Aquabots, alongside The Wild Side, a curated shorts programme.

Top Row (L-R): Thihangwi Ramutsindela (Nga Maanda Awe Film Festival and NEWF), Nondumiso Masache (Zenkosi Films), Matamba Kombila (Dougantsi Films), Anthony Ochieng Onyango (TonyWild Foundation), Sewela Mutileni (Beat of Africa Productions)

Middle Row: (L-R): Pippa Ehrlich, Zolani Mahola, Dr Gcina Mhlophe, Gogo Lindi Dlamini

Bottom Row (L-R): Nkosikhona Mthembu, Carlos Norhona, Elshadaye Temesgen, Nathan Rice, Chisomo Kawaga

Registration for the DFM can be done on the website: durbanfilmmart.co.za

For inquiries: info@durbanfilmmart.com

The 17th edition Durban FilmMart is funded by the Durban Film Office, eThekwini Municipality, Ford Foundation, the National Film and Video Foundation and IEFTF.

SPAR KZN Schoolgirls’ Fast 5’s Netball Durban North Regional - Ashton International College: Saturday 12 September

Danville Park Girls’ High School gave a rock-solid performance, claiming their third title in the Durban North Regional of the SPAR KZN Schoolgirls’ Fast 5’s Challenge hosted by Ashton International College on Saturday 12 September.

The defending champs met one times regional winner, Our Lady of Fatima in the regional final where the ‘Danville Diamonds’ sparkled, finishing off their spectacular efforts, winning 13 – 10. Danville topped the log after their seven games, victorious in all of the round robin games, finishing on 21 points. Fatima ended the first phase in third place, 3 points behind hosts Ashton who finished on 18 points. The visitors went down to Ashton in the opening fixture of the day, followed by a narrow defeat by Danville, in their second fixture. Thereafter, they refocused, claiming victory in all of their remaining matches.  

Fatima met Ashton in the second semi-final, and in the all-to-play-for game, Fatima upset the home team’s intentions, dominating the game knocking in 15 to Ashton’s 10. Ashton advanced to the regional final last year, going down narrowly to Danville by 1 point. Danville took on Curro Salt Rock in the first semi-final, securing a comfortable win 19-5. 

Hand up! Our Lady of Fatima’s Zoe Quigley secures the ball during the final against Danville Park Girls’ High School, as Rachael Shea falls into a defensive role at the Durban North Regional of the SPAR KZN Schoolgirls’ Fast 5’s Netball Challenge that took place at Ashton International College on Saturday 12 September. Pic by Val Adamson.

In the final, Fatima tipped off and wasted no time to earn their first point, after only 23 seconds of play. Danville replied on the other end, levelling the score. Fatima was next to surge forward, but an unsuccessful attempt gave Danville the ball, wasting no time to net their second goal, followed by their third 90 seconds later. Fatima replied with two well-crafted attacks that got them level again at 3 all. In the final three and a half minutes of the first 8-minute half, the game flowed to all corners of the court. Danville managed to add only 3 more goals to their tally, having to work hard with creative plays to get around the sturdy Fatima defence. The half-time score was 6 – 3. 

In the second half, Danville were first to add to their account. Fatima responded 33 seconds later. A determined Fatima worked hard, creating opportunities for their forwards, but the slick team of Amy Walhuter and Gianna Gaillard didn’t allow the Fatima forwards any room to get under the pole, forcing them to try land looping shots from near the 2-point circle. In a tightly contested second half, Danville had successfully added 7 points with Fatima having manufactured the final attack of the game. As the final seconds disappeared, Fatima’s captain Zoe Quigley, perched mere centimetres outside of the 3-point line, floated the ball for a perfect 3 pointer, the only adventurous long shot of the entire day; levelling the second half’s points to the same as Danville’s 7. The final score was 13 – 10 in favour of Danville. 

Brilliantly guided by Baby Proteas coach, Precious Mthembu, Danville have featured in all but one of this regional’s finals, the only year that Danville didn’t make the final two, Fatima was boldly successful in 2024. Fatima has vied for the title three times, going down twice to Danville and defeating Curro Salt Rock two years ago. 

The tournament heads inland for the penultimate challenge, Pionier Hoërskool hosts teams for the Northern KZN Regional next weekend (Saturday 19 September), before Epworth hosts the final challenge shortly when schools return from holidays in October. 

Results

Regional Final

Danville Park Girls High School 13 vs Our Lady of Fatima 10

Semi-Finals

Danville Park Girls’ High School 19 vs Curro Salt Rock 5; Ashton International College 10 vs Our Lady of Fatima 15

Round Robin

1 Danville Park Girls’ High School 21pts; 2 Ashton International College 18pts; 3 Our Lady of Fatima 15pts; 4 Curro Salt Rock 12pts; 5 Danville Park Girls’ High School’s Invitational 9pts; 6 Crawford International College La Lucia 6pts; 7 Crawford International College North Coast 3pts; 8 Ekwazini High School 0pts

Mad Solutions Boards Second South African Film ‘God’s Work’ for Worldwide Sales

MAD World, the global sales arm of Cairo-based MAD Solutions, has boarded South African feature God’s Work, written and directed by Durban-based filmmaker Michael James, for worldwide sales.

The deal marks the second South African title represented by MAD World in collaboration with Mojo Entertainment, following the company’s partnership on Zamo Mkhwanazi’s Laundry (Uhlanjululo). The latter marked MAD Solutions’ first acquisition of a non-Arab title, as the company continues to expand its international activities and build relationships with filmmakers and production companies beyond the Arab world.

Produced by Sithabile Mkhize under Maverick Resistance, God’s Work is a 2025 South African feature set in the streets of Durban, where six unhoused men find fragile refuge in a crumbling building while navigating violence, indifferent authorities and a society that has pushed them to its margins.

Blending social drama with psychological and surreal elements, the film moves between the characters’ external reality and their memories, visions and inner worlds. Through this shifting perspective, James explores the ways in which imagination, myth and memory can become intertwined with the experience of survival.

The film had its world premiere at the Durban International Film Festival and subsequently screened at the Luxor African Film Festival, marking its Arab-world premiere.

“God’s Work is exactly the kind of bold and distinctive filmmaking that we believe deserves to travel beyond its country of origin,” said Alaa Karkouti and Maher Diab, Co-Presidents of MAD World. “Michael James has created a socially urgent yet formally adventurous film, using surrealism and fiction to take us inside the realities, memories and inner worlds of people living on the margins. Our collaboration with Mojo Entertainment on Laundry introduced us to a South African filmmaking ecosystem that we found incredibly exciting, and God’s Work allows us to continue that relationship while taking on a film whose voice is deeply rooted in its local reality yet speaks to universal questions of inequality, power, dignity and survival. We are very pleased to bring this second South African collaboration with Mojo to the international market.”

Sithabile Mkhize, Producer of God’s Work, said: “We are thrilled to have MAD Solutions come aboard. Their understanding of and enthusiasm for the film give us great confidence as God’s Work begins this important journey to audiences around the world. We believe MAD’s international reach and commitment to distinctive cinema will help the film connect with audiences and partners far beyond South Africa.”

For James, the film grew out of his experience working with unhoused communities in Durban during the COVID-19 lockdown. Invited initially to document people living in government-established camps, the filmmaker began participating in weekly workshops with a group of young people who identified themselves as filmmakers. The experience ultimately led him away from a conventional documentary approach and toward a fictional narrative that could explore the intersection of lived experience, imagination and memory.

James is a filmmaker, writer, academic and artist based in Durban whose work explores the intersections of myth, history, identity, race, gender, class and religion across film, theatre and academia. His previous feature, Dreams of Gomorrah, won three Simon Sabela Awards and two African Rising Star Awards in 2020. His documentary Free Education: The Story of Bonginkosi Khanyile premiered at the Encounters Documentary Film Festival in 2018 before receiving three awards at the African Diaspora Cinema Festival in Italy.

Producer Sithabile Mkhize is a screenwriter and creative producer based in Durban. Her previous feature, Dreams of Gomorrah, was acquired by MultiChoice/M-Net and received several award nominations. She has also produced documentaries for South African broadcaster e.tv and participated in international film-industry programmes including the Berlinale, Cannes Film Festival and the Trajectory training programme.

The film features Thobani Nzuza, Mbulelo Radebe, Zenzo Msomi, Nduduzo Khowa, Omega Mncube and Siya Xaba. Cinematography is by Jared Hinde, editing by Dionysios Xenos, with an original score by internationally acclaimed composer and musician George Acogny.

God’s Work is produced by Maverick Resistance, with co-production by Marco Orsini and executive production by Toni Monty and Gary Springer. The film was made in association with the KwaZulu-Natal Film and Tourism Authority, the National Film and Video Foundation of South Africa, Amafrika Films and Mojo Entertainment LLC, with support from the Durban Film Office , MAD World is handling worldwide sales.