The ongoing debate surrounding South Africa’s film and television rebate incentive remains a central issue in various professional circles. Film and television workers across the nation are increasingly urging the government to establish a sustainable solution for the rebate system to protect the country’s screen industries.
Currently, the Department of Trade and Industry Corporation (DTIC) manages South Africa’s 25% rebate scheme. However, the introduction of new guidelines has been met with criticism from local filmmakers, who argue that the processes are unnecessarily complicated and lack transparency.
Furthermore, a significant backlog of previously approved applications has left many filmmakers waiting years for their reimbursements.
These concerns were highlighted during an event held by Netflix, in partnership with the Gauteng Film Commission and the KwaZulu-Natal Tourism and Film Authority, to announce participants for the ScreenCraft Pathways training programme.
At the event, questions were directed at the government regarding the restoration of an incentive that has positively impacted thousands of lives.
Addressing these issues, Gauteng MEC for Education, Sport, Arts, Culture and Recreation Lebogang Maile noted the critical nature of the situation.
Maile explained that sectors such as education have received significant increases in funding because of growing demand.
Education now serves far more people than it did in 1994, requiring a larger share of public resources. By contrast, arts, culture, and creative industries have not seen similar budget growth.
He acknowledged that sports, arts, culture and creative sectors have not received enough investment. Maile, in his response, suggested the creative sector has often been treated as a secondary issue rather than a strategic economic sector.
“One of the things that we are trying to do, now, is to say to education, let’s look at how we utilise the budget, which is big, but it’s not enough.
“But if we can break the chances and use it properly, we will not need to get additional budget. So that whatever additional budget that’s available can be directed to sports, to arts, to culture, to the creatives, and that’s what we need to do.”
Maile noted that while the government does have resources, the bigger question is whether there is sufficient vision and commitment to support the creative industries. Suggesting the problem is partly one of policy priorities rather than purely a lack of funds.
Because government resources are limited, Maile stressed the importance of partnerships with the private sector.
Emma Openshaw, Senior Research Analyst at global screen sector consultancy Olsberg SPI and former producer, added further that the discussion should focus on what kind of rebate or incentive structure is realistic and effective given South Africa’s fiscal constraints.
“You have to have the data to prove that there is economic fibre that’s here that’s not just an ask-for-arts-safe sector. I think that is a narrative that we have to fight.
“But it’s also kind of coming to the table on both parts of the saying, what’s realistic? Where can we bring an incentive? Where can we bring in other funds? Where can we bring in the private sector?
“Which I think Netflix coming to do small initial programmes like this and building and kind of increasing that accessibility level is so fundamental. It signals internationally that there is an opportunity for private investment.”
Openshaw added that, unlike parts of Europe, South African filmmakers have fewer options for bank loans and private financing, and the rebate system has often served as a crucial tool for unlocking other forms of funding.
IOL
