Growing Skills, But Is the Film Economy Growing?

Article Written by: Sebenzile “DJ Sebz” Zalabe

The growth of the film and television industry in South Africa has seen encouraging efforts aimed at developing talent and professional skills.

Institutions and programmes such as AFDA, Media Workshop, BLC Entertainment, and the many training initiatives propelled by the NFVF have all contributed significantly to building a new generation of filmmakers, producers, editors, writers, and actors. These projects are designed to grow the sector, sharpen skills, and create opportunities for young creatives to enter the industry.

However, while training and skills development continue to improve, an important question remains: are we building a viable film economy?
The biggest challenge facing our sector, particularly in Nelson Mandela Bay, is not necessarily a lack of talent. We have talent.

We have institutions. We have passionate creatives. The challenge is creating an environment where the industry can function efficiently and sustainably. Many filmmakers and creatives continue to face slow municipal processes, political red tape, and a lack of knowledgeable officials who fully understand how to service the film and television sector.

For an industry that often relies on speed, flexibility, permits, logistics, and efficient coordination, delays can be costly.
Production companies considering locations do not only look at scenery or talent; they consider how easy it is to do business in a city. When approvals take too long, when systems are unclear, or when there is no urgency in supporting the sector, opportunities move elsewhere.

Unfortunately, the Nelson Mandela Bay film sector continues to move at a snail’s pace in repositioning itself to compete with other cities that have already established stronger film ecosystems. Cities that understand the economic impact of film and television have created clear pathways for productions, invested in infrastructure, and built confidence within the creative economy. Film is not simply entertainment, it creates jobs, boosts tourism, stimulates small businesses, and positions cities on global platforms.

That said, there are positive developments worth celebrating. The latest news that our sector will finally have a Film Office, and that for the first time a Film Hub will be positioned at the Athenaeum, signals movement in the right direction. These are encouraging steps and could become important foundations for the growth of the local industry. If managed properly, they could create better coordination, improve industry support, and strengthen relationships between the government and creatives.

Yet, optimism alone is not enough.
Our biggest fear is that while we are still talking, planning, and navigating systems, we may lose some of our best talent. Creatives are increasingly mobile. Skilled filmmakers, actors, technicians, and storytellers will naturally go where opportunities exist, where systems work, and where their work is valued.

If implementation continues to lag behind intention, Nelson Mandela Bay risks becoming a training ground for talent that eventually leaves to build careers elsewhere.
Conclusion
The future of the Nelson Mandela Bay film sector depends not only on training people but on creating an economy that can absorb and sustain that talent.

Skills development without industry growth becomes a pipeline to migration rather than local empowerment. The Film Office and Film Hub offer hope, but the real test will be implementation, urgency, and political will. If we are serious about competing with other cities, the time for conversations must now be matched by decisive action. The industry cannot afford to move at a pace slower than the talent it hopes to keep.

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