OPINION: Audiences seek fresh narratives from the SA film industry

By: Ofentse Tladi

While South Africa’s TV lacks new telenovelas; the industry constantly fails to produce interesting story ideas that can keep viewers intrigued.   

Ofentse vents about the SA film industry. Photo: Ofentse Tladi

According to the National Film and Video Foundation (NFVF)’s, the SA film industry contributes R7,18 billion to the economy. Although it generates so much money, viewers are unhappy with the quality of television they get to experience.  

On February 23, 2024, Thabang Moleya, a South African Director, who has worked on projects such as Gomora (2020) and The Herd (2018) posted a question on X, asking his followers what stories they would like to see more of. Moleya explained that he posed the question because he is aware of audience's dislike towards the typical South African stories surrounding politics, taxi wars and “unnecessary sex scenes.” 

What followed was a deluge of re-posts and replies of people vocalizing their unhappiness with the industry.  

“It is not even about the storylines. The cast has no diversity. Everything looks like characters in a room reciting dialogue,” X user Siwe Memela responded to Moleya’s tweet. Another post suggested a South African Science Fiction like the existing film Snowpiercer.  

Popular telenovelas like “The Wife” and “The Queen” have had their fair time in the spotlight; keeping viewers interested with their gripping storylines -  specifically in the drug industry.  

After The River ended in 2024, BET launched Queendom, featuring familiar faces like Sindi Dlathu, Linda Mtoba and Hamilton Dlamini. Queendom follows Nthandokayise, community leader who discovers she is the heir to the Khahlamba Kingdom’s throne – a storyline previously explored on Mzansi Magic’s “The Throne.”  

This is one of the problems viewers and inspiring actors face as the industries tends to recycle the same talent– which often leaves no room for diversity storytelling as actors are normally cast for similar roles albeit on a different show.  

Despite Moleya’s question, audiences have always expressed their fatigue with these familiar storylines – thanks to social media.

Currently, to pitch ideas, Netflix South Africa requires writers and filmmakers to go through an established agency or a production company with a proven track record with the streaming company.  

These agencies and production companies often shy away from hiring new talent, preferring to collaborate with established industry professionals.  

While broadcasters like SABC, Mzansi Magic, and Moja Love do provide direct pitching opportunities, my experience as a religious viewer of South African series and telenovelas suggest that these platforms rarely produce fresh ideas.  

According to News24, three aspiring content producers claim the Moja Love channel commissioned their proposals without informing or involving them.  

However, South Africa’s law, as explained by a legal blog PopLaw, ideas themselves are not protected by copyright. “In order to qualify for copyright protection, an idea needs to be reduced, using the author’s own skill and effort, to material form.”  

I believe the industry could be transformed by getting new writers into writers-room; and by recognizing that South African audiences want to see stories that reflect the current times.