Africa’s creatives and content producers are facing uncertainty, fear, and disappointment following Canal+‘s recent announcement that it will be discontinuing MultiChoice’s video streaming service, Showmax. This decision has left many award-winning producers of film and TV in Africa feeling anxious about the future of their work and the type of content that will be commissioned by Canal+ for the continent.
Canal+ confirmed to Variety that the decision to shut down Showmax comes after a thorough review of its streaming activities. This news comes as a shock to many in the industry, especially considering that Amazon MGM Studios pulled out of African originals just two years ago, leaving limited options for content producers in the region.
The closure of Showmax is a major blow to Africa’s content creators, as it provided a platform for more experimental and boundary-pushing content than traditional linear TV channels. Producers lament the loss of Showmax, which allowed for a greater variety of genres and storytelling opportunities.
One example of the type of content that thrived on Showmax is “Khaki Fever,” a popular R-rated comedy that pushed the boundaries of traditional storytelling. The closure of Showmax means that African creatives will have fewer opportunities to showcase their work on a global platform.
At a panel session at the 8th Joburg Film Festival, industry experts expressed their concerns about the impact of Showmax’s closure on the local film and TV industry. Neil Brandt, founder and CEO of production company Storyscope, described the announcement as “a slap in the face” for the industry.
Despite the challenges posed by Showmax’s closure, Kaye-Ann Williams, Netflix director of scripted content for sub-Saharan Africa, reassured producers that Netflix remains committed to investing in African content. She highlighted upcoming projects, such as the Johannesburg film “180,” as evidence of Netflix’s ongoing support for African creatives.
The closure of Showmax reflects broader trends in the streaming industry, with platforms prioritizing sustainable economics and scale over rapid subscriber growth. As a result, consolidation in the sector is inevitable, leading to fewer standalone services and more bundled offerings for viewers.
The impact of Showmax’s closure extends beyond just content creation, as it also affects distribution and monetization opportunities for local creators. Moses Mmutlane, a South African media strategist, warned that the closure of Showmax could lead to international companies dominating the local production landscape.
In conclusion, the shuttering of Showmax represents a significant loss for Africa’s creative industries. As the industry grapples with the aftermath of this decision, there is a growing need for increased support for local content production and protection against aggressive international conglomerates. Showmax may be gone, but the legacy of its support for African storytelling will continue to resonate in the industry.
