As Heritage Month unfolds, South Africans are encouraged to celebrate the rich tapestry of their culture.
However, behind the celebrations lies a dark reality for the nation’s film industry, which has faced significant challenges in bringing new productions to life this year due to a stalled rebate system, Cape {town} Etc reports.
Odirile Mekwa, managing director of Quizzical Pictures – one of the country’s premier production houses known for international hits such as Reyka and Intersexions – is among many hopefuls waiting for a breakthrough.
‘At the moment, we’re losing more jobs, the industry is losing credibility, and we’re also losing international foreign direct investment as the whole system continues to backlog,’ Mekwa explains.
The industry’s ongoing troubles have not just been numbers on a spreadsheet; they represent a human toll that seldom makes the front pages.
During a recent presentation to Parliament’s Portfolio Committee on Trade, Industry, and Competition, industry representatives revealed that delays in the rebate system have cost South Africa an estimated R822 million in production expenditure and over 1,850 jobs within just this financial year.
An alarming R700 million in applications remain stuck in a backlog due to a halt in adjudication meetings lasting more than two years.
Quizzical Pictures has felt this disruption acutely, having lost a promising co-production with an Australian firm based on the works of a South African-born author now residing in Australia, which was stalled while awaiting the rebate committee’s decision.
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The project, developed over the years and backed by funding commitments from the BBC and streaming giants such as Stan and Amazon, ultimately succumbed to administrative delays.
‘We originally applied in 2024,’ Mekwa recalls, noting that the series was anticipated to create approximately 300 jobs and contribute over R100 million in foreign direct investment. Now, it has disappeared at the final hurdle.
‘I’ve gone through the emotions, but I’m hopeful,’ he adds, highlighting that beyond finances, there are countless stories of creatives losing their livelihoods, their homes, and, in some cases, their children being pulled from school due to the industry’s instability.
In a surprising turn of events, Mekwa now sees a glimmer of hope for the future. The Save SA Film and TV Jobs Coalition, alongside the Department of Trade, Industry, and Competition (DTIC), has reached an agreement to restart the incentive programme, which has not processed new applications since 2024.
Starting 30 September, the adjudication of the backlog is set to resume, as the department engages with National Treasury to formulate a more fiscally sustainable rebate structure.
‘Earlier this year, I was pessimistic,’ Mekwa admits. ‘We’d marched to Parliament at the beginning of the year and were mandated to advocate for change. But the DTIC had indicated a lack of sufficient funding, leading us back to report stagnation. However, things seem to be shifting,’
Progress is being made, albeit cautiously. The ‘contingent liability’ that hampered the rebate programme has seen a dramatic drop from R2 billion in 2021 to R255 million by mid-2026, with the DTIC’s budget allocation of R236 million for the upcoming fiscal year solidified.
Yet, unresolved issues linger as talks stalled earlier this summer, raising questions about whether a clear path forward can be established.
Even though significant challenges remain, Mekwa is optimistic about the industry’s potential, looking to the success of the South Korean entertainment sector as an inspirational model.
Over the past decade, South Korea has transformed its television industry from a censored domestic service into a multi-billion-dollar global powerhouse. Mekwa believes that with a functional rebate system, South Africa could replicate a similar surge.
‘We need the rebate back in order to make that international breakthrough,’ he emphasises.
‘Korea has gone from one breakout hit every few years to a globally dominant presence. While I’m not suggesting South Africa should aim for half of the world’s viewership, moving from a single hit every two years to even three or four per cent of the global slate would be transformative,’
Mekow acknowledges that pursuing international deals shouldn’t come at the cost of local narratives. ‘The industry must maintain a balance between export-oriented perspectives and local storytelling,’ he insists.
‘Chasing international appeal too hard can erode local relevance, and we should retain a robust local base to cultivate our unique voice,’
A pivotal aspect of the industry’s value is its accessibility; anyone can join, regardless of formal qualifications, enabling diverse talents to enter this creative field. ‘Each production can create hundreds of jobs for individuals who may not hold advanced degrees, thus providing an avenue for job creation essential to our nation,’ Mekwa explains.
Furthermore, Mekwa acknowledges the strides made by black producers since entering the industry. ‘It gives me great joy to see more black producers viewed as genuine partners rather than mere diversity checkboxes. They’re confidently presenting their stories to international markets and asserting their place in the business,’
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Picture: Supplied
