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/

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.

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/.

Durban FilmMart Introduces Equitable Coproduction Programme with EAVE Experts

The Durban FilmMart (DFM) has announced a new Equitable Coproduction programme for its 2026 edition, designed by EAVE (European Audiovisual Entrepreneurs) and  is bringing four leading EAVE experts to Durban to address one of the most pressing issues in international filmmaking: how to build coproductions that are fair, transparent and sustainable for all partners involved.

Top Tamara Dawit (Gobez Media – Canada & Ethiopia) (Left) , Amil Shivji (Kijiweni Productions – Tanzania) (Right) Bottom: May Odeh (Odeh Films – Palestine & Germany) (Left) and Linda Mutawi (Fikra – Sweden) (Right)

Taking place under the theme “Shifting Worlds: Turning Towards Ourselves,” the 17th Durban FilmMart, scheduled from 9 to 12 October 2026, continues to expand its Industry Programme to meet the practical needs of producers navigating an increasingly global production landscape. The Equitable Coproduction programme, delivered across a masterclass series and a dedicated clinic, gives delegates both the frameworks and the individual guidance needed to structure partnerships that share power, risk and reward more evenly.

“Coproduction has always been positioned as a route to bigger budgets and wider access, but we have often identified that those partnerships are not always fair,” says Durban FilmMart Institute Director, Magdalene Reddy. “By presenting a programmatic element-based EAVE’s recently developed Equitable Coproduction research and report DFM is equipping producers with practical tools to negotiate equitable creative, financial and legal terms from the outset, not as an afterthought.”

“The EAVE Impact Think Tank on Equitable and Inclusive Production Practices was created to examine the structural realities shaping independent production and develop practical responses. DFM was a natural partner in adapting and delivering this comprehensive, hands-on programme for African producers,” says EAVE CEO, Kristina Trapp. “Together, we aim to provide clear steps, best practices and practical tools for integrating inclusive production and coproduction practices into professional workflows, empowering producers to create meaningful and lasting change across the continent.”

Four Masterclasses on Equitable Coproduction

Presented in the DFM Industry Programme and open to all delegates, the masterclass series combines best-practice techniques with case studies drawn from the EAVE experts’ own experience, covering the full production lifecycle from development through to delivery. The four EAVE experts who will be present in Durban are Tamara Dawit (Gobez Media – Canada & Ethiopia), Linda Mutawi (Fikra – Sweden), May Odeh (Odeh Films – Palestine & Germany) and Amil Shivji (Kijiweni Productions – Tanzania).

Developing with an Inclusive Lens positions the development phase as the critical point at which to embed equity, care and intentionality into a project. Participants will explore care-based development frameworks, including collaborative story design and consent-driven research, to build a transparent roadmap from concept to production.

Inclusive Financing & Budgeting introduces budgeting tools and financing strategies that promote equity across a production, including fair compensation and practical approaches to shared ownership, transparent practices and community benefit. The session also addresses how to navigate currency imbalances in international coproductions.

Inclusive Co-Productions examines how to build partnerships that uphold creative equity, financial fairness and shared IP ownership and revenue participation, particularly across regions with differing resources. The session covers negotiating fair terms, drafting inclusive contracts and navigating legal frameworks that support long-term, respectful collaboration.

Inclusive Production Practices offers practical guidance for managing productions across diverse cultural and geographic contexts, including inclusive hiring, cross-cultural crew coordination, ethical casting, safer set protocols and culturally sensitive scheduling. The session also addresses production and post-production workflows that prioritise access, consent and psychological safety.

Equitable Coproduction Clinic

Recognising that many challenges are specific to an individual project and cannot be fully addressed in a masterclass setting, DFM will also host an Equitable Coproduction Clinic. The clinic gives delegates direct, one-on-one access to the EAVE experts behind the masterclass series.

Delegates can book a dedicated 15-minute slot with an expert to work through concerns specific to their own project, from navigating power dynamics to structuring fair creative and financial partnerships. With four experts running concurrent sessions, the clinic can support up to 50 to 60 delegates individually, ensuring the guidance on offer is tailored rather than generic. Bookings are coordinated by the DFM team to make access straightforward.

Register now: 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.

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Durban FilmMart Institute Announces the Selection of Participants for Talents Durban 2026

The Durban FilmMart Institute (DFMI) announces the lineup of participants for the 19th edition of Talents Durban, taking place during the Durban FilmMart (DFM) in Durban from 9 – 12 October 2026. As the African satellite programme of Berlinale Talents, Talents Durban continues to play a vital role in nurturing emerging African filmmakers, animators, and film critics through mentorship, professional development, and international networking opportunities. 

Berlinale Talents is a networking platform organised by the Berlin International Film Festival, offering a space for emerging filmmakers to connect, learn, and collaborate. Talents Durban serves as its African counterpart, providing a similar platform specifically tailored to the continent's unique filmmaking landscape.

DFMI Director, Magdalene Reddy, explains, “The Durban FilmMart Institute remains committed to advancing African cinema through strategic collaborations that expand international access to professional networks, markets, and sustainable industry opportunities. Talents Durban is central to this vision. Now in its 19th year of partnership with Berlinale Talents,  this partnership helps to contribute meaningfully to the long-term growth and sustainability of the African film ecosystem.”

The 2026 edition reflects the diversity of African storytelling, bringing together participants from 18 African countries. This year’s selection process was highly competitive, receiving a record 551 applications. From these submissions, 26 participants and six film critics were selected across fiction features, documentaries, short films, episodic content, animation, and film criticism.

Selected participants will engage in an intensive programme of project-oriented and hands-on professional development initiatives, including Story Junction pitching sessions, masterclasses, mentorship engagements, and one-on-one consultations with leading industry experts.

Mentors for the 2026 edition include Akosua Adoma Owusu, Amine Hattou, Bongi Ndaba, Comfort Arthur, Jihane Bougrine, Mayye Zayed, Nicole Schafer, Oris Aigbokhaevbolo, Ramadan Suleman and Razanajaona Ambinintsoa Luck.

A highlight of this year’s programme is the evolution of the Talent Press stream through the introduction of a Peer-to-Peer (P2P) Digital Newsroom model. Moving beyond the traditional workshop format, the programme will simulate a live festival newsroom environment.

Acclaimed alumni Wilfred Okiche and Domoina Ratsara return as Section Editors, mentoring and collaborating directly with a new generation of emerging African critics serving as Festival Film Writers. The initiative is further strengthened through partnerships with the Encounters South African International Documentary Festival (04-14 June 2026) and the Durban International Film Festival (23 July - 2 August 2026), providing participants with real-world reporting experience, and opportunities to publish critical writing from the forefront of African cinema.

Talent Press is an initiative of Talents Durban in collaboration with FIPRESCI. A new collaboration between the Cairo International Film Festival (CIFF), the International Federation of Film Critics (FIPRESCI), and the Durban FilmMart Institute was announced during FIPRESCI's annual reception. The partnership will see FIPRESCI select an outstanding participant from the Talents Durban Press programme at Durban FilmMart 2026 to receive an award presented by CIFF. The selected critic will be invited to attend the Cairo International Film Festival, cover the festival's activities, and contribute to its English-language daily publication. This initiative represents an important step in strengthening film criticism across the African continent and creating greater opportunities for emerging critical voices to engage with international film culture and discourse.

Official 2026 Talents Durban Participants and Projects:

Fiction Features

Kelvin Kagambo – Dogi Dogi (Tanzania)

Lawrencia Aphua Larbi-Amoah – Bare Feet (Ghana)

Meekaaeel Adam – The Violent Type (South Africa)

Mélanie K. ZAWADI – THE BASEMENT (DRC)

Russell Oru – The Things We Leave Behind (Nigeria)

Shandra Apondi – The Words I Do Not Have (Kenya)

Documentaries

Ahmed Shams Nagm Eldin – SABARY (Sudan)

Hussein Eddeb – The birth of Derna (Libya)

Junior Mozese – ABÉTI (DRC)

Michelle Simon – Rivers: Under Threat  (South Africa)

Ramaroson Razafimbelo Anatole – Fitampoha, the return of the king of Menabe (Madagascar)

Sarra El Abed – Goodbye Party (Tunisia)

 

Fiction Shorts

Daisy Masembe – Rukia (Uganda)

Ghazzal Abdullah – Facing the Sun (Egypt)

Moso Sematlane – Nightbirds (Lesotho)

Sarah Abena Adjei – Awake (Ghana)

Tendaiishe Chitima – The Last Tree on Kilimanjaro (Zimbabwe)

Xola Limba – Only We Remain (South Africa)

 

Episodic

Cheyi Okoaye – Cause, Effect & Maybe Consequences? (Nigeria)

Des Dlamini – Slightly Awkward (South Africa)

Rudo Furusa – Borrowed Skin (Botswana)

SOGOBA Hawa – The Eleventh Year (Mali)

 

Animation

Jack Machiridza – All You Sheep (Zimbabwe)

Kirollos George – Alexandria forever (Egypt)

Pule Mohotsi –  Amandla (South Africa)

Talent Press 

Elijah Oluwanisola (Nigeria)

Hlumela Luvuno (South Africa)

NEYA Harouna (Burkina Faso)

Michelle Abuti (Kenya)

Domoina Ratsara (Madagascar) – Alumni

Wilfred Okiche (Nigeria) – Alumni 

The Heads of Berlinale Talents, Nikola Joetze and Tobias Pausinger, highlight their anticipation, stating: “At Berlinale Talents, we regard Talents Durban as an essential creative partner and a space where exceptional filmmakers and storytellers from across the African continent continue to push boundaries, challenge form, and expand the global cinematic imagination. Year after year, we are inspired by how Talents Durban nurtures bold artistic voices that embody the spirit of this year’s Berlinale Talents theme, Creating and Confusion, transforming uncertainty into innovation and new narrative possibilities.

Equally vital is the internationally renowned Durban Film Market itself, which stands as one of the continent’s most significant platforms for connecting emerging and established talent with industry opportunity. It plays a decisive role in strengthening the creative ecosystem, while underscoring South Africa’s position as a dynamic and indispensable hub for the international film industry.”

As the premier film market in Africa, the 17th edition of the Durban FilmMart, under the theme “Shifting Worlds: Turning Towards Ourselves”. Inspired by the words of Ousmane Sembène, often referred to as the “father of African cinema” who said, “Why be a sunflower and turn toward the sun? I, myself, am the sun,” the 17th edition of the Durban FilmMart will be the space for discussions that advance alternative film funding pathways, revise models for distribution, consider equitable co-production frameworks and create authentic partnerships. DFM 2026 will encourage looking within to forge relationships and design new strategies that will brace a world in flux and endure the economic and social structures that are changing and destabilising the film industry.

More information on this year’s theme can be found on the Durban FilmMart Institute’s website, https://durbanfilmmart.co.za/

Delegate registration and programme details will be announced in due course.

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

17TH EDITION OF THE DURBAN FILMMART RESCHEDULED WITH NEW DATES SET FOR 9 - 12 OCTOBER 2026

Durban, South Africa: After careful consideration, the Durban FilmMart (DFM), Africa’s best loved film finance and co-production market, has decided to move its 17th edition to 9 - 12 October 2026 due to significant funding challenges.

The viability of hosting the DFM event in July 2026 has been considerably impacted by the current global financial crisis which directly affects funding for film and the arts in general. Significant changes in key funding partnerships and the ongoing reduction of local year-on-year funding opportunities presents challenges for planning and strategic growth. 

The Durban FilmMart Institute, a non-profit organisation, plays a pivotal and significant role in driving African and diaspora film professionals to convene, do business, build relationships, exchange ideas and shape the future of filmmaking. 

“Rescheduling the market has been a difficult decision but one that the board and management had to take because we remain committed to the pan-African film ecosystem we serve,” says Magdalene Reddy, Director of the Durban FilmMart Institute. “Despite the uncertainty we face with limited long term, multi-year support for the annual event, we believe that the space we create for African film professionals must exist and that it is essential to those who believe in the power and impact of African independent film. We encourage all those who never miss a DFM to move with us and join us in October for what they have come to cherish.”

Those attending this year’s edition are set for a series of uncompromising conversations under the theme: Shifting Worlds: Turning Towards Ourselves. Inspired by the words of Ousmane Sembène, often referred to as the "father of African cinema” who said, “Why be a sunflower and turn toward the sun? I, myself, am the sun,” the 17th edition of the Durban FilmMart will be the space for discussions that advance alternative film funding pathways, revise models for distribution, consider equitable co-production frameworks and create authentic partnerships.  DFM 2026 will encourage looking within to forge relationships and design new strategies that will brace a world in flux and endure the economic and social structures that are changing and destabilising the film industry. 

An anchor in the international co-production market calendar and with a continued focus on African cinema, all DFM market activities including the Pitch and Finance Forum for live action, documentary and animation, Talents Durban and the Industry Programme made up of panel discussions, masterclasses and think thanks go ahead as planned. Industry, attendees, stakeholders and partners are encouraged to spread the news and show their support by attending the market during its new dates in October 2026.

More information on this year’s theme can be found on the Durban FilmMart Institute’s website, https://durbanfilmmart.co.za/

Delegate registration and programme details will be announced in due course.

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

Durban FilmMart Institute (DFMI) announces animation project selection for the 16th annual DFM Pitch and Finance Forum.

Over the past 3 years, animation has become an integral part of the Durban FilmMart annual event in July, Animation@DFM includes both important conversations in the industry programme and the participation of animation projects at the DFM Pitch and Finance Forum. 

The online animation masterclass series and one-on-one mentorship offered to projects in development is the first element of the annual programme. The aim of the masterclass programme is to prepare the selected participants  to pitch in Africa’s leading film finance and co-production market. The 16th annual Durban FilmMart is scheduled to take place from the 18 to 21 July, in Durban, South Africa. 

“Over the years, we have noticed the increase in the quality of animation projects coming out of African continent”, says DFMI director, Magdalene Reddy,  “DFMI is honoured to witness the growth of the animation sector and celebrate the work that is been done by creators, both on the continent and in the diaspora. Animation@DFM is now a permanent strand of programming at the market, bringing together the worlds of animation and live action in one place creates richer conversations and deeper networks for industry.” 

DFMI received applications from animation professionals across the continent and the diaspora which made the selection of 8 projects by the  independent evaluation panel very competitive, challenging and exciting. All 8 projects will go through a 3-month period of training and development to ensure they are ready to meet investors in Durban. 

8 Official projects:

Animated fiction features:

Aisha Qandicha    

Producer: Alyssa Harden

Director: Fatima Mahdar

Morocco     

Au nom du Roi Njoya (In The Name of King Njoya)        

Producer: Claye Edou

Director: Claye Edou

Cameroon   

Crocodile Dance

Producer: Ingrid de Beer

Directors:  Shofela Coker, Nadia Darries

South Africa /Nigeria

 Kamaroza

Producer: Nouran Abdallah

Directors: Ahmad Abdelhameed, Islam Mazhar

Egypt 

KINTUADI: SIMON KIMBANGU 

Producer:  Giresse Kassonga

Director: Benny Lusakueno

Democratic Republic of the Congo

Tribe  

Producer: Debbie Crosscu

Director: Tendayi Nyeke

South Africa 

Animated fiction series:

Mboudgui   

Producer: Betty Sulty-Johnson, Lamissa Ouattara

Director: Bienvenu Wanso-Tissala

Cameroon /France 

Nunu Rhu/The Girl With Wings         

Producer: Ameera Faber, Sabrina Roc

Director: Clare Louis

South Africa 

Masterclass and Mentorship Programme

The 3-month online masterclass programme will feature script development, visual representation, finance planning, project packaging, pitching and much more while the one-on-one mentorship will allow individual mentors to assist animators with  project packaging and pitch preparation.

More details about the 16th Durban FilmMart will be announced in due course.

The Durban FilmMart 2025 is presented by the Durban FilmMart Institute with principal funding from the Durban Film Office and eThekwini Municipality.

About Durban FilmMart Institute

Durban FilmMart Institute is the business hub of the African film industry in a world where professionals and content are globally competitive and celebrated. The mission of the Durban FilmMart Institute is to provide appropriate and effective programmes and services to promote, support and facilitate investment in the African film industry.  The Durban FilmMart Institute runs year round developmental programmes and an annual market (Durban FilmMart).  The DFMI has recently launched Filmmart.africa which is an online tool for filmmakers to connect and which we hope will enhance visibility for African content.  

For more information about the DFMI programmes visit www.durbanfilmmart.co.za

For more information contact: info@durbanfilmmart.com

 -ends

Durban FilmMart 2023 - Selected Animation Projects Announced

The Durban FilmMart Institute (DFMI) is pleased to announce the 8 animation projects that have been selected for this year’s Durban FilmMart. 

“Animation has been noted by Forbes Magazine as one of the fastest growing sectors in the creative industry across Africa over the past few years”, says Magdalene Reddy, DFMI Director. “Against this backdrop the annual Durban FilmMart (DFM) will for the second year include animation projects in development in its Pitch and Finance Forum. Positioned as the premier film market in Africa, the DFM is perfectly placed to provide a platform for animation content creators to meet potential collaborators and financiers, thereby contributing to the continuing growth of animation on the continent.” 

The official DFM Animation project teams from across the continent are currently preparing their pitches for DFM 2023 will take place from 21 to 24 July 2023 as an in-person event in Durban, South Africa. 

Official DFM Animation Projects: 

● Azania Rises: Season 1 (South Africa), producers: Dr. Farayi Chinyanga andFatuma Abdullah and director: Farisai Kavayi 
● Boy Boi (Kenya), producers: Shadrack Munene & J. Njogu Macharia and director J.Njogu Macharia 
● Between heaven and earth (Entre ciel et terre) (Tunisia), producer, Sarra BenHassen and director, Nadia Rais 
● My BIG name (South Africa), producers: Busisiwe Ntintili, Mpumi Sinxoto &Amanda Zungu and director: Lebogang Sekwelenkwe 
● NALEDI (South Africa), producer: Lesego Vorster, co producers: Valentin Maupinand Aristote Douroudakis and director:Lola Aikins 
● Spiky to the Core (زين) (Egypt), producer and director: Nermeen Salem

● SOLA (South Africa), producers AJ Pitre, Thandiwe Mlauli and director: ThandiweMlauli

● The Passport of Mallam Ilia (Nigeria), producer: Ferdinand Adimefe and director: Chekwube Okonkwo 

Each team has been assigned an individual mentor who will give them the tools to pitch and the confidence to navigate the market, which includes one on one meetings with decision-makers from across the world. In addition to this, each team has access to an 8 week masterclass series, presented by DFMI which began in mid January. The masterclass series is specifically structured to upskill and prepare filmmakers for the international marketplace and will be presented by Beth Parker, Terence Maluleke, Aseye Tamakloe and Mounia Aram, just to name a few. The series covers creative elements such as story development, character development and visual representation as well as business elements such as distribution and finance planning. 

At the end of the 8-week masterclass series, selected project teams will then be invited to participate in the Road to Annecy Animation Incubation Programme presented by DFMI’s animation partners, Digital Lab Africa (DLA), Tshimologong Precinct and Cape Town International Animation Film Festival (CTIAF). 

The 8 official animation projects in development will be presented to a panel of international decision-makers consisting of potential co-producers, broadcasters, film funds, and distributors at the 14th Durban FilmMart Pitch and Finance Forum. 

The Durban FilmMart Institute receives principal funding from the Durban Film Office and the eThekwini Municipality. 

The Durban FilmMart animation programme is supported by the project “Cultural and Creative Industries” which is implemented by the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH on behalf of the German Federal Ministry for Economic Cooperation and Development (BMZ) and in cooperation with the Goethe-Institut. It improves employment and income opportunities for creative professionals in six partner countries; Lebanon, Jordan, Iraq, Kenya, Senegal, and South Africa and operates mainly in the music, fashion, design and animation sectors. In addition to promoting the development of entrepreneurial, digital, creative and technical skills through training programmes, the project aims to strengthen the framework conditions and the ecosystem of the cultural and creative industries. 

For further information contact info@durbanfilmmart.com

-ends

DIFF Film Karl Marx City has messages for South Africa and the world

A Durban International Film Festival Film - Karl Marx City has messages for South Africa and the world.

By Wanda Hennig

German-born New York film-maker Petra Epperlein was at home in the United States with her co-director husband Michael Tucker when she received the devastating news. Her father was dead. He had hanged himself from an oak tree in the garden of the family home. The home her mom still lived in. The home that for the first 20 years of Epperlein’s life (and for 20 years before that) was in Soviet-controlled East German, the old German Democratic Republic (DDR).

There had been no warning signs that her dad was planning to end his life.

What Epperlein did know, however, was that after the Berllin Wall fell in 1989 and as the process of reunification was beginning, he had been mailed several veiled threats. Notes accusing him of having been in alliance with the sinister, controlling Stasi, the Ministry of State Security “secret police” that had created a society under constant “Big Brother” surveillance and in the grip of fear: even of thinking the wrong thoughts.

So was born the intimate and personal documentary Karl Marx City, the film that has brought Epperlein to the 2017 Durban International Film Festival. It is one of 10 “German Film Focus” films screening: a collaboration between the German Embassy, the Goethe-Institut, German Films and Berlinale Talents, with DIFF 2017. Epperlein, also part of DIFF’s women-led films focus, will share knowledge with aspiring film-makers while here.

Karl Marx City was the city of Chemnitz before the 40-year DDR period. With the name change came a 40-ton bronze monument of Marx’s head that still looms over the inner city skyline: even though the city is Chemnitz once more.

“My father’s suicide made me question my memories of him. Do we really know who our parents are? You live with them. You see them in a certain way. I had a perception of my father as a warm and loving person.”

But with his suicide she began to question her memories. Could her childhood have been an elaborate fiction? Could her father in fact have been an informant? The Stasi were known to have had neighbour spy on neighbour; children report on parents.

We are chatting at the Elangeni Hotel. Epperlein is just off the plane from New York City. The gaminesque architect turned film-maker is shiny-eyed from jet-lag but alert, curious about Durban (“what mustn’t I miss?) and happy to share both perceptions on her movie and the fact that Karl Marx City—the fourth film she and Tucker have made to premier at the Toronto Film Festival—has received fantastic reviews in the New York Times, the Los Angeles Times and elsewhere.

Epperlein was an architecture student at university in Dresden when the Berlin Wall fell. The revolution that saw the Cold War unravel started in Dresden. She was in the thick of it. Scenes from the time feature in her film. East Germans were trying to escape to the West in growing numbers. Many had sought refuge in embassies in Budapest and Prague. The DDR regime agreed to give passage to the unsustainably large numbers holed up there. They would be taken by train to (west) Berlin. The train would pass through Dresden. The aim was for Stasi officers to board the train in Dresden and take away passports “so they could never return”.

But riots erupted. You see footage of the riots is in the film. “It was the first riot against the regime. I was there and it was four weeks of true excitement.”

Within a month the wall came down.

Two years later, soon as she completed her degree, Epperlein moved to Berlin. “The city centre didn’t exist. It was unchartered territory,” she says. “There were clubs and parties and excitement. Young people moved in and claimed it as their own—until the capital came in and started claiming it.”

After two years in Berlin, where she worked as an architect, Epperlein booked a ticket to New York City. “The ultimate symbol of freedom. I went to check it out.” She found it lived up to its promises and cliches.

It gave her something else too. She met Michael Tucker, the guy who became her husband. He was a film-maker. They became not only partners but also film collaborators. “Film-making and architecture are pretty similar,” she says. “With both, you have to organize complex structures in time and place.”

Epperlein’s father suicide came shortly before the 2013 Edward Snowden National Security Agency (NSA) leaks in the US. “Inspiration for the film came via the NSA leaks. People started comparing the Stasi to the NSA. This bothered me. They were really not the same. The Stasi were a repressive communist regime. You were not permitted to express your view or dissent. The NSA operates within a democratic society.

“I realised how little people knew about the Stasi or what life was like behind the Iron Curtain. East Germans don’t want to talk about it 27 years after reunification. It hasn’t been processed. Questions, for example about complicity, haven’t been addressed. It’s complex. So many questions.

“I thought, before it slips away and is lost, we should make a film about it. The final decision came after we went to the Stasi archives and discovered the film and video archives. Endless hours of surveillance. Mind-blowing. So much of it banal. The banality of evil. Unsuspecting people unaware they were being watched. Almost perfect documentary material.”

At the start of their quest, to try and find answers via the Stasi files, Epperlein had to convice her mom and her twin brothers that addressing this via a doccie was a good idea. “It was my obsession, to try and find the truth about my father. I imposed it on them. They were at first opposed. But then they went along.” The experience, she says, has brought them closer.

This is a film that will resonate with many South Africans who lived through apartheid. Think Broederbond and the Bureau for State Security (BOSS). Even the recent revelations of the Bell Pottinger secret manipulations... On a more intimate level, the family relationships resonate.

Epperlein and Tucker sponsor their own movies. They make them, then set about selling them. One called Fightville about cage fighting—“some amateur fighters who think their way of fulfilling the American dream is to go into a cage and beat each other up”—made them a bunch of money a couple of years ago.

It supported the current film “about a world that doesn’t exist any more.” Yet has profound lessons in the world we live in now where constant surveillance is a given. “It’s good to be aware of what it feels like to live in a truly oppressive society.”

The Stasi, she laughs, would have loved Facebook.

Karl Marx City shows tonight ( July 17) at 5pm  (one screening only) at Gateway Sterkinekor during the Durban International Film Festival which runs until Sunday, July 23. Tickets for this screening at box-office or www.sterkinekor.com.  For more information about the DIFF go to www.durbanfilmfest.co.za.

-ends

SOUTH AFRICA’S ‘INXEBA’ BAGS A STRING OF AWARDS AHEAD OF THE DURBAN INTERNATIONAL FILM FESTIVAL

SOUTH AFRICA’S ‘INXEBA’ BAGS A STRING OF AWARDS AHEAD OF THE DURBAN INTERNATIONAL FILM FESTIVAL

South African film ‘Inxeba’ (known internationally as ‘The Wound’) has won the Best Film Award in the International New Talent Competition, at the  current Taipei Film Festival ahead of its African premiere at the Durban International Film Festival at The Playhouse next week (14 July).

This is a latest in a string of awards for the film, which explores tradition and masculinity, and the clash between age-old rituals and modernity. Described by Variety magazine as “a milestone in South African cinema”, the film stars musician and novelist Nakhane Touré as Xolani, a lonely factory worker who joins the men of his community in the mountains of the Eastern Cape to initiate a group of teenage boys into manhood. When Kwanda (Niza Jay Ncoyini), a defiant initiate from the city, discovers his mentor’s secret, Xolani's entire existence begins to unravel. 

At Cinema Jove, the Valencia International Film Festival, held in Spain from 23 June to 1 July, ‘Inxeba’ was awarded the Luna de Valencia for Best Feature Film, as well as the Best Actor Award for Nakhane Touré.

At one of the world's longest-running film festivals, the Sydney Film Festival, held from 7 to 18 June, ‘Inxeba’ won the Audience Award for Best Feature, with ScreenDaily describing it as “a measured consideration of class, race, self-loathing and self-assertion”.

At the 41st Frameline, San Francisco’s international film festival, held from 15 to 25 June and where 147 films were screened, ‘Inxeba’ won the First Feature Award. 

Shortly before that, it was awarded the prize for Best Feature Film at the 32nd Lovers Film Festival, an LGBTQI festival held in Turin, Italy from 15 to 20 June.

In April, the film received the Jury Prize for Best Narrative at the 19th annual Sarasota Film Festival in Florida, in the US. The festival is known as a world-class platform for thought-provoking films from some of the best known and emerging independent filmmakers. At the MOOOV International Film held in March 2017, in Belgium, it garnered a Special Mention.

‘Inxeba’, which premiered at this year's Sundance Film Festival and later opened Berlinale Panorama, was a 2014 Durban FilmMart project. This initial pitch enabled the team behind it to obtain funding from a number of international financiers, resulting in a co-production between South Africa, France, Germany and The Netherlands. 

According to a Sundance review, “John Trengove's hard-edged but beautifully wrought study of clashing Xhosa models of masculinity will be an eye-opener to outsiders — and some South Africans too.”

‘Inxeba’ is the first feature from writer-director John Trengove, and is co-written by Trengove, Thando Mgqolozana and Malusi Bengu. The Xhosa initiation ritual which forms the landscape of the film is also the subject of ‘Inxeba’ co-writer Mgqolozana’s novel, ‘A Man Who Is Not a Man’. 

‘Inxeba’ will continue to travel around the world, having been sold to 19 countries for theatrical release thus far, and will be distributed in South Africa by Indigenous Film Distribution. 

“The release strategy for South Africa ensures that the film will qualify as a strong contender to represent the country in the Foreign Language Film nominations for the 2018 Oscars,” says Helen Kuun, MD of Indigenous Film Distribution. “We are excited about ‘Inxeba’ as it is an authentic South African story that has gained traction globally.”

Director John Trengove, lead actor Nakhane Toure, some of the cast as well as co-producer Cait Pansegrouw, will be in attendance at the premiere.

‘Inxeba’ will be screened at 6pm on Friday, July 14 at The Playhouse, 8pm on Tuesday, July 18 at Sterkinekor Gateway, 2.30pm on Saturday, July 22 at Sterkinekor Gateway. Bookings for the Playhouse are through www.computicket.com, and for Sterkinekor on www.sterkinekor.com. For more information about the Durban International Film festival go to www.durbanfilmfest.co.za

-ENDS

Caption: Poster for Inxeba

For more information:

http://www.urucumedia.com/the-wound

https://www.facebook.com/thewoundthefilm/

Watch the trailer here:

https://www.youtube.com/watch?v=ubSlj-G4P6I&t=3s

The Durban International Film Festival brings Germany to South Africa

The 38th edition of the Durban International Film Festival (DIFF) is set to captivate audiences with a German Focus, which features ten gripping films by some of Germany’s finest directors, a masterclass by German film industry professionals, as well as networking sessions with the cream of the international film industry crop.

 Curated by Alex Moussa Sawadogo, the variety of the films on the lineup is set to keep audiences enthralled. Films such as The People vs Fritz Bauer (which relates to German history after the WWII and the role of the attorney of law Fritz Bauer in confronting the state with its political shortcomings), Paula (which recounts the journey of a well-known early 20th century painter, who discovered her artistic freedom in a more traditional Germany), Goodbye Berlin (a depiction of how the German Democratic Republic and the Federal Republic of Germany merged into one state, taking two young children as the protagonists of a road movie through former East Germany) and Greetings From Fukushima (which breaks the common stereotypes that surround Germans) will leave audiences with a better understanding of German history, culture and people.

 While Goodbye Berlin ties in with this year’s overall festival theme, “Transit Tales”, All of a Sudden, Greetings From Fukushima, Paula and Karl Marx City speak to one of this year’s focus areas – women-led films.

 DIFF audiences will have the chance to meet key people behind the productions. Anand Batbileg and Tristan Göbel, two of the most promising talents in Germany’s film scene and the main actors of Goodbye Berlin will be in Durban for a Q&A following the German Gala screening of Goodbye Berlin at The Playhouse (Drama Theatre) on 16 July (time to be confirmed). The award winning and family friendly film was made by prominent film maker Fatih Akin who recently presented his last film in Cannes. Tickets for the Gala Screening are available at Computicket.

 Another confirmed DIFF guest is Doris Dörrie, director of Greetings From Fukushima. With her unmistakable way of storytelling, she has been one of the towering figures in German cinema since she stirred up the countries’ film scene in 1985 with the gender comedy Men. Christian Schwochow has been awarded for both his cinema and theatre work and will visit DIFF in his capacity as Director of Paula. Petra Epperlein will visit Durban as well to present the extraordinary documentary Karl Marx City, which is a highly personal cinematic journey into her childhood to find the truth about her late father’s suicide and his rumored past in the GDR’s secret service. Furthermore, Directors Karin Steinberger (The Promise) and Stephan Rick (The Dark Side Of The Moon) will be attending DIFF. 

 The German Focus at DIFF 2017 is presented by German Films, the Goethe-Institut and the Embassy of the Federal Republic of Germany in South Africa in cooperation with DIFF. 

Alex Moussa Sawadogo, director of the Afrikamera Festival and curator of the German Film Focus at DIFF elaborates: “Long considered as a highly politicized cinema that placed social and political criticism at the heart of its creation, today, German cinema is dominated by a new generation of directors. From diverse origins, free and gifted, these German directors are at the foreground of the vivacity of the production of German cinema, which is recognized all over the world. They bring the concerns of their generation in an intimate sphere on screen and discuss the tribulations of a new Germany that has opened itself to the world - particularly by receiving many people in distress. The German Film Focus at DIFF 2017 presents itself as a unique platform for the discovery of a program of new, diversified, exciting and engaging German films of all kinds – a cinema that places German people from all origins at the heart of its creation.”

Mariëtte Rissenbeek, German Films Service said: “The majority of the films we are presenting have been very successful at a large number of international film festivals. The kinds of stories they tell and the way in which they are told are relevant for a larger international audience, and the director’s handwriting has both a specific and an international element. The strength of German cinema at present is its diversity. Since the year 2000 a number of German films, about German history and personal stories, have been made which achieved international success.”

 Lien Heidenreich-Seleme, Head of Cultural Programmes at the Goethe-Institut, added: “The goals of the Goethe-Institut are to support film within the creative industries and to undo with stereotypes through visual storytelling. We do this with training and networking initiatives, through interdisciplinary and pan-African collaborations, and by increasing access to the variety of German filmmaking. In this light, and after our longstanding relationship with DIFF, we are excited about this year’s German focus.”    

 DIFF, the Goethe-Institut South Africa and Berlinale Talents have a decade-long partnership. This year marks the 10th anniversary of Talents Durban, a programme that began in 2008 as a result of the partnership between DIFF and Berlin International Film Festival’s Berlinale Talents, with the support of the Goethe-Institut and the German Embassy.   

 Talents Durban is an annual five-day training and mentorship programme that runs at DIFF, aimed at empowering emerging 27 African screenwriters and directors working on projects for film, television, web series and content for mobile platforms. The 10th edition will take place from 14-18th of July under the theme “Perspectives: Seeing things differently”, which is derived from the observation that film alone may not change the world but can show the world when it changes. Talents Durban looks to not only highlight the stories of Africa, but create a culture of Africans telling their own stories, and most importantly from their experience and perspective of cutting edge and modern cinematic technology. Talents Durban is happy to welcome the German directors Doris Dörrie, Petra Epperlein and the two main characters of Fatih Akin’s film Goodbye Berlin, Anand Batbileg and Tristan Göbel. As part of Talents Durban and in association with the Goethe-Institut and FIPRESCI (International Association of Film Critics), the Talent Press programme will provide again mentorship and hands-on training in the craft of film criticism to three emerging African journalists. 

Furthermore, the Goethe-Institut will present “New Dimensions – Virtual Reality Africa”, a brand new package of four VR productions from Kenya, Ghana and Senegal. The works were co-produced with Cape Town based Electric South. To be shown at the Durban FilmMart (DFM), they allow a glimpse into the fascinating new opportunities that technology provides for visual storytelling.

DIFF is one of Africa’s leading and longest running festivals, and runs from 13 to 23 July in Durban, South Africa. 

To find out more about the German Focus at DIFF, visit www.durbanfilmfest.co.za, or follow the Festival and the German Film Focus partners on social media: 

Twitter: 

@DIFFest (#DIFF2017) 

@German_Films #germanfilms

@goethejoburg 

@berlin_talents

@GermanEmbassySA

Facebook: 

Durban International Film Festival 

German Films

Goethe-Institut Johannesburg

Talents Durban

German Embassy Pretoria

Instagram:

@durbaninternationalfilmfest

@germanfilms #germanfilms

@goethe_jhb

@berlinaletalents

 -ENDS