Q. You’ve built a career spanning more than 20 years across film, television and radio, looking back, what first drew you to the production side of the industry, and how has your journey shaped the producer you are today?

I was drawn to production by a long-held ambition to become a Producer. I came to believe that Producers are the ones who conjure and give shape to the blank canvas — the platform on which creatives can build and realise their visions. Without a Producer, there is no film, no show; the work simply does not exist.

As a youngster, my first real passion was team sport. The particular game mattered less than the participation itself — I threw myself into whatever was on offer, and thrived. For a long time I assumed the joy lay in the sport. In time, I came to understand it was the dynamics of a team that I loved and excelled in. I was a natural leader, more often than not the captain, if not the one calling the shots, and I had an instinct for what made a team better — and I knew that better teams won more games.

My journey in the industry began humbly, as a runner and then a Production Assistant on commercials in Johannesburg. To be a PA was to be woven into the fabric of the production team, supporting every department as needed. From there, the natural arc of progression beckoned: Production Coordinator, then Production Manager, and onward toward Line Producing, with Producing itself on the horizon. I was fortunate, early on, to land full-time work as a PA at a production company specialising in music video production and, later, twenty-four-hour music television broadcasting. Because we were a small, tightly knit team, this proved fertile ground for growth — I rose to Coordinator and frequently found myself filling the shoes of Production Manager, and at times Producer. The channel’s sheer range of formats meant we absorbed invaluable, wide-ranging skills in bringing its many shows to life.

The next chapter took me into the world of television drama as a freelancer, where I broadened my repertoire to include Assistant Directing. The AD occupies a singular position on any set — the bridge between the floor and the production office. It is a role of constant balance: weighing the creative ambitions of a show against a schedule that is, in turn, governed by budget. The AD solves for time and money, commands the team on the floor, and works to draw the creative vision out of the technical machinery, all while keeping the lines of communication with production open and alive.

That experience as an AD has shaped, more than anything else, the Producer I am today — teaching me to respect the creative work enough to protect it and make room for it, even as I hold the line on schedule and, crucially, budget. But above all, it taught me that filmmaking is a team sport: the product of an entire collective of people working in concert to tell a single, unified story. The best outcomes come from respecting the humans doing the work, and from building spaces where every one of them has an equal chance to thrive. That, to me, is the finest expression of what a Producer does — beyond the pitching, the fundraising, and the business responsibilities that sit behind every film, television show, production company, and the partners who make it all possible.

Q. You’ve worked across a remarkably diverse range of productions, from Suidooster and Blood & Water to feature films such as Nommer 37 and Indemnity. What have some of these very different projects taught you about producing and managing successful productions?

Diversity is a powerful force in every arena of life. It deepens and broadens our experience, and enriches the very fabric of living. This has proven equally true across my professional journey. For me, it begins with one’s own life in general — the more colourful and varied that journey has been, the more one has to offer any given situation. Both the good experiences and the hard ones shape us, and each leaves its mark on the daily reality we engage with.

As a Producer, you soon learn that opportunity determines the kind of story you get to tell at any given moment. We all carry a story we long to tell, and whatever the obstacles, we will find a way to pursue that particular, personal story — a passion project, in essence. And yet most projects are born from an altogether different set of places and circumstances, ones over which we have little control. The ability to pivot towards opportunity matters just as much as having a story to tell, particularly when running a business with obligations within the creative industries. One has to remain open to recognising such opportunities in order to build something sustainable. Unless a project is self-funded, there are always other interests to weigh — the needs of financiers, or of a partner such as a streamer, broadcaster, or commercial entity in pursuit of return on investment.

Much of this, too, is shaped by the audience and by the zeitgeist of the moment. Perhaps the greatest challenge is pitching or selling an idea within today’s mindset, all the while knowing that the time our craft takes to reach the market means it will ultimately land in a moment we can only speculate about. Predicting that moment is something of a holy grail — the entire industry spends a great deal of time deliberating over it, and it is often here that opportunity is truly shaped. Sometimes you find yourself with the right story at the right time; sometimes you don’t. But every story has its moment, and we have seen ideas shelved for years only to return to great success.

One of the great lessons drawn from the diversity of projects we have produced is the importance of developing within the guardrails of each individual format — creatively and financially alike — and of building shooting models that allow the creative vision to be realised without compromising the budget. But the deepest learning, above all, has come from growing the company itself, and from the particular difficulties of sustaining a production company within the context of the South African industry: understanding how different types of projects affect the business model as a whole, and learning to navigate accordingly.

Q. As COO and Executive Producer at Gambit Films, you’re involved in both the creative and operational sides of the company. What does your role look like behind the scenes, and how do you balance the creative ambitions of a project with the practical realities of production?

As COO and Executive Producer at Gambit Films, my role touches every facet of the company — from the organisation’s growth to its capacity to deliver film and television sustainably and at the highest level, consistently. Behind the scenes, this means developing the workflows and models that uphold storytelling as our fundamental strength. With internal teams spanning development, production, and post, Gambit Films is, at any given moment, invariably present across every phase of film and television production simultaneously. Managing the teams and processes across that spectrum demands a commitment to best practice in communication, integrity, accountability, and inclusion.

Having robust systems in place allows us to replicate quality creative work, even as each project differs vastly from the last. At its core, filmmaking remains consistent in its mechanics. By vertically integrating our internal team into each of our productions, we achieve consistency across titles even where different production teams are assigned to each one. A creative bible helps establish a given title’s creative aspirations and gives the whole team a reference point from which to orient themselves to the vision — a discipline that serves creative continuity across every phase of production, and helps the vision immerse and converge across departments. The same principle holds for building workflows, both internally and for each title in turn.

Over time, the lessons learned have proven invaluable for consistency, capacity, and growth, as well as for balancing creative intent against the constraints of schedule and budget. With that experience, it becomes ever easier to spot opportunities for elevated production value wherever they arise.

Q. What makes a location like Cape Town attractive when you’re considering where to develop and produce a project?

First and foremost, Cape Town is home. It is where our stories originate, and if we are to tell authentic stories in our own voice — stories we have the authority to tell — then this is the home from which we speak.

Secondly, it is no secret that Cape Town is a phenomenal city in which to film almost anything, for a great many reasons. It is one of the most beautiful locations on earth, and nature offers a bountiful basket of backdrops for any story imaginable. The rare combination of ocean, mountain, desert, and both urban and rural landscape opens up a multitude of possibilities. Within the urban world alone, one finds every register of architecture, texture, and mood — from the hugely affluent to the intensely gritty. The townships and the Cape Flats add still further to this wealth of possibility, even before the story itself has been decided upon.

Furthermore, we find ourselves in an era of the industry in which home-ground advantage carries real currency, both in raising finance and in landing commissioned work. An authentic voice in the telling of a story is, in itself, valuable currency. Gambit Films is built by local people — people with a genuine passion for this city — and we take great pride in being trusted custodians of its stories.

Q. From your experience, what do you think the city offers filmmakers that can’t necessarily be replicated elsewhere?

I believe the city offers filmmakers a great deal, and much of it is bound up with our identity as South Africans more broadly, not only as residents of the Western Cape or Cape Town. I mean, by this, our characters and our cultures — we are a nation with a great deal to offer the world of storytelling: an abundance of extraordinary, at times unbelievable, and thoroughly unique realities that lend texture and nuance to our stories.

More practically, the specific offerings of Cape Town as an industry hub are unmatched on the continent, if not in the country as a whole. A long legacy of service work has given us access to world-class service providers, equipment, and studios, along with raw talent trained on some of the largest productions in the world. The local industry offers filmmakers almost every piece of hardware, software, and human ingenuity available anywhere on the globe, and the City itself provides remarkable support in helping us realise our creative ambitions. Combine all of this with a great script and a great team, and remarkable things become possible — as we at Gambit Films have experienced time and again.

Q. What are some of the logistical or production advantages of filming in the city that audiences may not see on screen?

As mentioned above, it is the sheer abundance of services and skills across Cape Town’s ecosystem that sets it apart. A deep pool of talent, capable of filling the many roles and services required to make a film or television series, gives filmmakers here the support they need, regardless of a production’s scale or scope. There is no blueprint for making a film — each one is different — and living in a city like Cape Town means being able to find the right partner for any given project, whether that is gear rental, SFX or VFX vendors, or studio facilities. The options are there.

Just as vital is having a city film office that understands the full breadth of creative possibility any project might hold, and is willing to do the near-impossible to help make it happen. Nor is there any shortage of creative talent in the city — from writers and directors to production designers and wardrobe stylists, Cape Town has so much to offer in the way stories are told. It is a community, and this, above all, is a team sport.

Q. What impact does bringing larger productions to Cape Town have on the local industry, particularly in terms of skills development, employment and opportunities for local crew?

For all the factors that make Cape Town a wonderful place to film, as a local industry, the service sector has thrived alongside it in equal measure. The legacy of skills development, employment, and opportunity it has generated has been extraordinary, and directly advantageous both to the city at large and to the film industry in particular. For local crews, exposure to the skills demanded by international productions has sharpened their own craft and aligned it with current best practice, improving their prospects for future employment in turn. The real benefit, though, lies in bringing these same skills to bear on local productions.

Across the full life cycle, the ideal outcome is greater investment in locally produced films, alongside an environment that remains welcoming to servicing larger productions here at home. Together, these would translate into further employment and greater opportunity across the industry.

Q. Cape Town is known internationally for its locations, but what do you think are some of the less obvious strengths that make the city an attractive production hub?

As mentioned above, there is truly no end to the list of things that make this city so attractive as a production hub. For us as a production company, Cape Town delivers world-class solutions to every phase of our business model. Beyond the locations and the obvious advantages it holds for any moving-picture creative enterprise, the technological backbone supporting the local post-production ecosystem is both world-class and fully operational. Together with our partners in the city, we deliver globally successful content reliably and consistently. It is this combination of cutting-edge digital technology and raw talent that has been key to our ability to tell our stories shoulder to shoulder with our peers around the world.

Q. Where do you see the biggest opportunities for Cape Town and South Africa to attract and develop more productions over the next few years?

Amid a global scaling-down of resources for filmmakers everywhere, the industry is searching for ways to create great content on smaller budgets. At the same time, the rise of global streaming has cultivated a worldwide audience hungry for more great, authentic content. Between these two forces lies opportunity for producers, local and international alike.

Where the journey from major-budget productions down to dramatically reduced numbers remains all but impossible for those accustomed to those big budgets, the ability of local producers to deliver strong production value opens up a far greater range of possibilities as the budget ceiling moves upward. In short, it is a much longer road for a major studio to travel from a huge blockbuster budget down to a modest one than it is for a local producer, already accustomed to delivering on-par content at that modest level, to make use of the additional bandwidth afforded by a meaningful uplift into a somewhat larger landscape.

These are precisely the kinds of opportunities awaiting the local industry in the years ahead — opportunities that create employment as well as the chance to operate at a level more in step with our peers globally. The growing appetite for more grounded content and authentic narratives and genres opens up further opportunity still, as this convergence of forces aligns remarkably well with our current positioning here at home.

Q. Looking ahead, what kinds of stories or projects would you love to bring to Cape Town, and what would you like to see the city become known for on the global production stage?

The excellence of our storytelling as a nation, as a people, is essential to our identity and matters enormously to who we are. As a city, a country, and a continent, we take pride in the articulation of our experiences and the expression of our art — in the cultural impact we have on humanity, and on ourselves as individuals. I am because we are.

Through the making of films, the telling of our stories, and our partnerships with platforms around the world to reach audiences, I would like to see this city recognised for its contribution to, and support of, this industry. To that end, the team at Gambit Films looks forward to the opportunity to tell many more stories, across both film and television.

The post Benjamin Overmeyer on Gambit Films, Cape Town and storytelling appeared first on Film Cape Town.

Q. Looking back at your journey so far, what first drew you to acting, and when did you realise this was something you wanted to pursue professionally? 

I’ve always been a natural performer. I used to love impersonating people and tv characters as a child! Later in my high school career, I joined a performing arts school where my love and passion for performance grew. It was just the natural next step to pursue acting professionally. 

Q. Your roles have allowed you to explore very different characters and worlds, what do you look for in a character or project that makes you want to be part of it? 

I absolutely love being versatile. I am always curious about what it’s like to be in somebody else’s shoes, so I always kind of look for what a character wants, needs and where their power lies. Figuring out their ‘why’ somehow automatically draws me to them. Even if I don’t necessarily agree or fully understand the character – I enjoy a challenge! 

Q. You feature in Spinners, a series that has reached audiences both locally and internationally, what was it about the project and your character that excited you when you first came on board? 

Definitely the spinning! It was unlike any other brief I’ve ever received in my career so far. It hit close to home, because Spinning is and has always been a big thing in Kraaifontein. Amber and I are also worlds apart. I enjoy exploring characters that I have absolutely nothing in common with. 

Q. Was there anything about the production or the character that challenged you in a way you didn’t expect? 

Performing some of the stunts were definitely challenging. I am quite the perfectionist, so when I do partake in something, I want to do it right. Nothing prepares you for your first time getting behind the wheel to spin when you’re an anxious driver! However, we had the best spinning coaches and stunt teams who guided me and always made me feel safe and secure. 

Q. Is there a particular role or project you’ve worked on that has changed the way you approach your craft or helped you grow as an actor? 

Every project I work on teaches me something new. I always approach every new character/project with the intention the learn. To be stretched, challenged and as vulnerable as I can be. Something I realise every time I’m on the set of Spinners is that I am but a small part of a very big machine. 

Q. How do you balance bringing your own experiences and personality to a character while still fully stepping into someone else’s world? 

I believe that the characters I portray shouldn’t have anything to do with me, so when I do bring personal experiences or personality – I keep that in mind. I am very bubbly and always joking around, and yet I’ve always played characters who are either way younger than me, or the complete opposite of who I am. I am grateful for that because I prefer it that way! 

Q. What is something about the acting profession that you wish you had known when you were starting out? 

The long hours and what we call “hurry up and wait.” I fantasised about the industry in the ways that I’ve seen it on tv: Plenty of time on set, months in advance to properly train and prepare for a character. I quickly realised that the South African performing arts industry is way different from Hollywood! 

Q. Is there a particular role or type of character you hope to play at some point in your career? 

I would love to play a villain in a period film hopefully when I look a little older in my thirties! 

Q. What’s something you’ve learned about yourself through your journey that you didn’t expect? 

I am truly unstoppable. When I was starting out, I’d shy away from a lot of things due to fear. I’ve learnt over time that nothing will happen for me if I constantly get in my own way. Now I walk into every casting with confidence and certainty. 

Q. Looking ahead, are there particular kinds of characters, genres or stories you’re hoping to explore next in your career? 

I’ve done two films this year for the very first time and I think that is a world I would like to continue exploring. I’ve done series and telenovelas for most of my career so far, so I am excited to explore film and see what I have to offer. 

The post Chelsea Thomas’s journey in acting appeared first on Film Cape Town.

Read all about the festival schedule here. 

·        Event Date: 31 Oct – 1 Nov 2026

·        Event Time: 09:00 – 17:00

·        Venue: Rockefeller Hotel & Residence

·        Tickets: From R 75

·        Website: Fame Shorts Film Festival

·        Event Organiser: RX Africa

The post FAME Shorts Film Festival appeared first on Film Cape Town.

• Date: 4 – 9 October 2026
• Venue: Cape Town City Hall & The Homecoming Centre
• Tickets: From R165 | Book here
• Website: loeries.com 
• Event Organiser: Loerie Awards Company

The post Loeries Creative Week appeared first on Film Cape Town.

Attendees can experience a diverse programme of insightful content sessions, film screenings, live music, curated exhibitions, and groundbreaking creative showcases, alongside unparalleled networking opportunities with key influencers, global partners, investors, and audiences.

Read all about the festival schedule here. 

·        Event Date: 28 Oct – 1 Nov 2026

·        Event Time: 09:00 – 17:00

·        Venue: Cape Town International Convention Centre 2

·        Tickets: From R2180

·        Website: fameweekafrica.com

·        Event Organiser: RX Africa

The post FAME Week Africa 2026 appeared first on Film Cape Town.

As South African content continues to make its mark on the international stage, the global appetite for authentic, locally rooted stories is growing. But what makes a South African story stand out in an increasingly competitive content landscape, and how can Cape Town strengthen its position as a hub for world-class productions and international co-productions?

We spoke to Scharl van der Merwe, Head of Premium Content and Co-Productions for MultiChoice, a Canal+ Company, for his perspective on the opportunities ahead for South African filmmakers and producers. From the growing demand for authentic storytelling and the potential of international co-productions to Cape Town’s competitive edge as a production hub, Scharl shares his thoughts on where the local industry is headed and what it will take for South African stories to connect with audiences around the world.

Q. What do you believe makes local content stand out in an increasingly competitive global market?

South African content stands out because it offers something the global market is constantly searching for: authenticity. Audiences have access to more content than ever before, which means generic stories struggle to break through. The stories that travel are often those that are deeply rooted in a particular culture, language and place. Afrikaans films, like Hen (2025) is a good example. While it is unmistakably local, the themes explored, such as family, identity, and resilience, are universal. At festivals like Silwerskerm we continue to see productions that are uniquely South African while still connecting emotionally with audiences far beyond our borders.

Q. What kinds of South African stories do you think have the greatest potential to connect with international audiences, and why?

The stories with the strongest international potential are those that combine a distinctly South African perspective with universal human experiences. Global audiences are not looking for stories that imitate international trends. Stories set in our communities, landscapes and cultural contexts offer exactly that. They are looking for fresh viewpoints. Films like Carissa (2025) and From Dust We Spin (2026) and series like (Spinners 2023 – 2026) are good examples.

Q. What do you think gives the Cape Town an edge when it comes to creating content for a global audience?

Cape Town combines world-class production infrastructure with a remarkable diversity of locations, creative talent and technical expertise. It is one of the few places where productions can access international-standard crews and facilities while also drawing on a rich range of stories and cultural perspectives.

Q. From your perspective, what are international commissioners, broadcasters and platforms looking for when they consider South African projects?

Increasingly, they are looking for authenticity, quality and scalability. International partners want stories that feel unique and culturally specific, but they also want strong creative packaging, experienced production teams and a clear route to audience engagement.

Q. How can the local industry strike the right balance between telling distinctly South African stories and creating content that resonates beyond our borders?

The balance lies in focusing on universal emotions and relatable human experiences while staying true to local characters, settings and cultural perspectives. Successful co-productions, like Invisible (2026) understand this well. They use international partnerships to expand reach and resources, but they preserve the unique voice that makes the content worth telling in the first place.

Q. Where do you see the biggest untapped opportunities for South African content creators and producers right now?

One of the biggest opportunities lies in international co-productions and strategic creative partnerships. The global content industry is increasingly collaborative, and South African producers have an opportunity to participate in projects that combine funding, expertise and market access from multiple territories.

Q. With audiences having more choice than ever before, how do you think the expectations of South African viewers are changing, and what does that mean for local content creators?

Viewers increasingly compare local productions against the very best content available globally. They expect strong writing, high production values and compelling storytelling regardless of where the content originates.

Q. If you look five years ahead, what would you like to see South African content, and Cape Town as a production hub, be known for on the global stage?

I would like South African content to be recognised as a source of internationally respected storytelling, rather than simply a production destination. We have the talent, creativity and cultural richness to become a consistent exporter of stories that resonate globally. For Cape Town specifically, I would like it to be known not only as a world-class filming location, but as a hub for international co-productions where local and global talent come together to create distinctive content. If we can continue developing sustainable partnerships while nurturing authentic South African voices, we will be well positioned to make a lasting mark on the global entertainment industry.

The post Taking South African stories to the world, a Q&A with Scharl van der Merwe appeared first on Film Cape Town.

The awards followed the four-day Silwerskermfees at The Bay Hotel, which showcased a range of film projects from across South Africa. This year, the festival featured 11 Cape Town film projects, including two Film Fund recipients. 

The winners in 20 film categories were announced on Saturday morning  at The Bay Hotel in Camps Bay. The morning’s blue carpet event focused on the technical categories for all the feature films, as well as the short film and documentary categories. 

Among the feature films, Silas en die Ysbeer op Tafelberg, a Film Fund recipient, walked away with four awards.

The legendary filmmaker Koos Roets was honoured with an honorary award for his lifetime contribution to the entertainment industry during the morning event. 

The evening awards at the Cape Town International Convention Centre focused on the television categories and four of the headline feature film categories, bringing together some of South Africa’s leading actors, TV presenters and filmmakers for a glamorous celebration of local talent. 

The feature film Landmyn, a project filmed in Kommetjie, Cape Town, by Nico Scheepers, made a clean sweep of the four headline feature film categories. 

Legendary Capetonian actor Ivan Abrahams was also honoured for his lifetime contribution to the industry, alongside South African actor, director and writer Willie Esterhuizen. 

It was a fitting celebration of the immense talent within South Africa’s film and television industry, with Cape Town once again taking centre stage through the many local productions showcased throughout the festival. 

Waldimar Pelser, Director for Premium Channels at MultiChoice, a Canal+ company, says it is now more important than ever to recognise the standouts in an industry that daily enriches viewers’ lives, challenges them, keeps them in touch with the world around them and above all entertains them. “I am astounded every year by the collective creative power that exists in the Afrikaans industry and the diverse ways in which it finds expression.” 

According to Pelser, kykNET will continue to offer quality programmes on the small screen – from current affairs and reality programmes to soap operas, drama, and comedy. “Where Nico Scheepers excelled last year with his horror film Hen, Landmyn will cause a stir in an entirely different way. It is a relationship drama in which he and the outstanding cast prove how unsettling a small gesture can be.” 

The kykNET Silwerskerm Awards for Film and TV will be broadcasted on kykNET (DStv channel 144) on Sunday 23 August at 19:00.

WINNERS IN SOME OF THE FEATURE FILM CATEGORIES: 

Best sound design Guy Steer – Al wat ek weet

Best original soundtrack Janine Neethling, Hunter Kennedy, Johnny de Ridder – Silas en die Ysbeer op Tafelberg 

Best make-up and hair Jolene Cilliers – Silas en die Ysbeer op Tafelberg 

Best costumes Sulet Meintjes – Silas en die Ysbeer op Tafelberg 

Best production design Rocco Pool – Al wat ek weet 

Best editing Reghardt Botha – Landmyn 

Best screenplay Nico Scheepers – Landmyn 

Best cinematography Ebrahim Hajee – Silas en die Ysbeer op Tafelberg 

Best director Nico Scheepers – Landmyn 

WINNERS IN THE CATEGORIES FOR SHORT FILMS BY ESTABLISHED AND EMERGING FILMMAKERS: 

SHORT FILMS 

Best screenplay Michelle le Roux – Twee persent 

Best director Michelle le Roux and Heinrich Laubscher – Twee persent 

Best short film by an emerging filmmaker Michelle le Roux – Twee persent 

Best short film by an established filmmaker Wag ’n bietjie 

Best actor Danny Ross – Wag ’n bietjie 

Best actress Lauren Joseph – ’n Poppy op die heuwel 

Best cinematography Jason Haji-Joannou – Wag ’n bietjie 

Best editing Heinrich Laubscher – Twee persent

WINNERS: SHORT DOCUMENTARY FILMS 

Best editing Anlerie Cilliers – Rooi van aard 

Best director Mia Cilliers – Die grond onthou 

Best documentary Die grond onthou 

FESTIVAL FAVOURITE WINNER: 

Al wat ek weet 

WINNERS IN THE TELEVISION CATEGORIES: 

Best lead performer in a comedy Albert Pretorius (Flip) – Die kantoor 

Best supporting performer in a comedy Schalk Bezuidenhout (Tjaart) – Die kantoor 

Best supporting performer in a telenovela or soap opera Gretchen Ramsden (Patty Paulsen) – Skemergrond 

Best newcomer in a telenovela or soap opera Izette Blignaut (Petro) – Binnelanders 

Best actor in a telenovela or soap opera Germandt Geldenhuys (Louis) – Binnelanders 

Best actress in a telenovela or soap opera Sandi Schultz (Zelda Joubert) – Diepe waters 

Best actor in a drama Albert Pretorius (Gustaff Fouché) – Niggies 

Best actress in a drama Rolanda Marais (Adri Joubert) – Die nuusmakers 

Best male supporting performer in a drama Ian Roberts (Jakkals) – Appels en tee 

Best female supporting performer in a drama Roeline Daneel (Maks Fouché) – Niggies 

Best presenter in a lifestyle programme Hannes van Wyk – Kwêla 

Best presenter in an entertainment programme Rian van Heerden – Wie word ’n miljoenêr 

Best presenter in a reality programme Reandi Grey – Boer soek ’n vrou 

Best presenter in a talk show or current affairs programme Rian van Heerden – Laataand by Rian 

Best presenter in a documentary programme Rian van Heerden – Schuster 

Best ensemble presenter team Hamilton Wessels, Rika Calitz, Breyton Paulse, Bakkies Botha, Jonathan Mokuena, Jannie du Plessis, Rikus de Beer, Tommy Dickson (Chef Vaatjie) – Toks en Tjops 

WINNERS IN SOME OF THE FEATURE FILM CATEGORIES: 

Best female supporting performer Nicole Holm – Landmyn 

Best actor Ben Albertyn – Landmyn 

Best actress Anna-Mart van der Merwe – Landmyn 

Best feature film Landmyn 

The post And that’s a wrap for kykNET Silwerskermfees 2026!  appeared first on Film Cape Town.

The conversation also looks beyond the festival to explore what makes a story resonate with audiences, why diversity matters, what broadcasters look for in the next generation of filmmakers, and how South Africa can continue building a thriving and sustainable screen industry.

Q. From your perspective, what role does Silwerskermfees play in strengthening the local film and television industry?

Our first priority is to develop new voices through the Short Film Project, which funds and mentors first-time film makers to take their first steps into the industry. Many Silwerskerm alumni have become major players in television and film in South Africa, including Christiaan Olwagen (debuts with  Toevlug at Silwerskerm in 2013), the Gambit films team (Nommer 37, 2014), Die Kantoor’s comic genius Bennie Fourie (Vuil Wasgoed, 2014), and Nico Scheepers, who this year presents his latest feature film, Landmyn, and first made a short for Silwerskerm in 2017. Beyond nurturing talent, the festival brings together creators, producers, broadcasters and industry partners to collaborate, exchange ideas, and shape the future of Afrikaans storytelling.

Q. kykNET has been instrumental in supporting Afrikaans and local storytelling for many years, why is it important to continue investing in original local content?

If we do not invest in our own stories, no one else will. South Africans are more than just consumers of what the rest of the world creates. We are creators of our own narratives. We document our own cultures. We support our own creative economy. Without that commitment, we risk losing a rich storytelling tradition and one of the oldest film cultures on the African continent.

Q. As audience habits continue to evolve across television and streaming platforms, how is kykNET adapting while remaining committed to South African stories?

Our commitment to telling local stories is unwavering – and we always seek larger audiences for what we produce. Every kykNET programme is available on DStv Stream, whether viewers prefer to watch live or on demand, and we are seeing strong growth in digital viewing. Audiences increasingly expect flexibility in how they consume content, and our focus is on making compelling local stories available wherever and whenever viewers choose to engage with them.

Q. The festival brings together filmmakers, broadcasters, distributors and audiences in one place, how do these relationships help shape the future of the industry?

Collaboration is fundamental to the success of the film and television industry. No single organisation or individual can bring a project to life alone. Filmmakers, broadcasters and audiences each play a vital role in the ecosystem. We all rely on each other for ideas, talent, funding, technical expertise, and willpower.

Q. This year’s programme reflects a wide range of voices and perspectives, why is diversity in storytelling so important to the future of South African film?

Audiences will tune in if they see that they are represented in an authentic way on screen. When people do not recognise themselves, their experiences or their communities in the stories being told, they disengage.

Equally, they may disengage if they are served only familiar narratives and perspectives. Diversity is about much more than represenation. It extends to themes, genres, story-telling approaches, and points of view. A healthy industry embraces this diversity because it keeps story-telling fresh and engaging.

Q. Technology, including AI, is changing the way content is created and consumed, what opportunities do you see for innovation while protecting authentic storytelling?

Creatives around the globe are grappling with this question. The nascent approach is that everyone, in this and every other industry, is looking for ways to improve their ways of working without losing authenticity. AI can help creators work faster, enhance production processes, and make ambitious visual ideas more accessible than ever before. However, technology should serve storytelling, not replace it. AI is powerful when it makes the work which is produced better. Exploring how it is utilised in film – and how to unlock its potential in an ethical way – is still very much a work in progress which we are watching very closely.

Q. From your perspective as a broadcaster, what qualities do you look for in projects or filmmakers that have long-term potential?

We rely on our industry partners to make shows and movies which compell our audience to come back for more. We look for those who show that they are trying, as are we, to hone their understanding of who our audience is – they must take this very seriously. We look for craft, passion, good storytelling, and an intuition for how to push the boundaries while building ever stronger connections with viewers. The best industry players tend to come back with exciting new projects, building on the reputation to understand audiences and make them fall in love with characters again and again.  

Q. What advice would you give emerging filmmakers who hope to build lasting careers in an increasingly competitive industry?

Read widely and watch as many films and series as you can. Walk the streets and see the real world too. Be curious about people, places and experiences that are unfamiliar, while also developing an empathetic understanding of the communities closest to you Then focus relentlessly on improving your craft.  And never stop putting your work forward. The most successful filmmakers have often heard “no” many times before they heard “yes”.

Q Looking ahead, what excites you most about the future of South African film and the role Silwerskermfees will continue to play in its growth?

This nation will always find ways of telling its own stories, and that gives me tremendous confidence in the future of our film industry. It excites me to see how Silwerskerm evolves, while remaining committed to discovering the next generation of storytellers. We will continue investing in that future to ensure the festival remains relevant, innovative and entertaining.

The post From local stories to a global audience with Waldimar Pelser appeared first on Film Cape Town.

For Executive Producer Kabous Meiring, getting the film to the big screen is a testament to the determination of everyone involved.

“This project is the epitome of grit, vision, and one hell of a hardkoppige collective.”

For Meiring, the significance of Silas en die Ysbeer op Tafelberg stretches beyond entertainment. The film, he says, is also a reflection of what can be achieved by a determined local creative team.

“It is a creative venture that leaves behind more than a story; it instils confidence in an industry navigating uncertain times.”

That sense of determination runs throughout the production. Silas en die Ysbeer op Tafelberg is an example of what can happen when a big creative vision is matched with commitment and collaboration.

As Meiring puts it: “That is Silas for you: more than just a film.”

A story about loss, told through imagination

Without giving too much away, composer Johnny de Ridder describes Silas as a touching exploration of how children process difficult emotions.

“Audiences can expect a heartfelt story about a boy who uses his own dreams to help him deal with loss and big feelings in real life.”

While the film embraces fantasy, its emotional core is something audiences can easily connect with. Themes of grief, healing and self-discovery are woven into a world filled with colourful characters, humour and a healthy dose of imagination. The film’s visual and musical elements also play an important role in bringing that world to life.

“The set design is beautiful, and the sound design and music really pull you into the world.”

For Johnny, Silas en die Ysbeer op Tafelberg is also a film made to be experienced together in a cinema.

“It’s the kind of film that benefits from the big screen. The visuals, the music, and the overall atmosphere feel much more immersive when you’re sitting in a cinema with an audience,” said Johnny

Behind the fantasy is a production that required plenty of practical creativity. According to Production Accountant Martin J Hutton, support from the City of Cape Town’s Film Fund helped the team take an ambitious idea from the page to the screen.

“Taking a concept as visually ambitious as Silas en die Ysbeer op Tafelberg from page to screen required strong backing, and receiving support from the City of Cape Town’s Film Fund was a pivotal turning point for our production.”

According to Hutton the funding helped provide the technical foundation for the production, including camera, lighting, sound, grip and logistical support. It also opened up creative possibilities, allowing the filmmakers to lean into practical effects and bring the fantasy world to life within Cape Town’s natural landscapes. That included creating snow on Table Mountain, constructing a custom exterior set, filming child characters flying high on a “poep wolkie”, and even bringing in frog squads for a boat scene on a dam.

“Without the City of Cape Town’s Film Fund, these high-impact visual moments simply wouldn’t have been possible at this scale, and Film Cape Town truly helped us showcase the incredible potential of our local landscapes, world-class crew, and storytelling capabilities,” said Martin

For a film with Table Mountain in its title, the mountain is naturally more than just a backdrop. For cinematographer Ebrahim Hajee, who was born in Cape Town and has more than 26 years of experience in the film industry, filming the mountain offered an opportunity to see a familiar landscape in a completely new way.

“I’ve never grown tired of filming here. I’ve shot Table Mountain countless times, each visit revealing its unique charm. With Silas, it felt like the first time, offering a fresh perspective. The mountain itself seemed like an old uncle, silently narrating its story. Even the mythical tales surrounding it influenced the film.”

Ebrahim added that filming in one of Cape Town’s busiest tourist destinations came with its own challenges and says the support of the Table Mountain Cableway and SANParks was invaluable in making the shoot possible.

Looking beyond Silas, he also sees an opportunity for Cape Town to strengthen its role in supporting local productions.

“Looking ahead, if Cape Town fully embraces local productions, showcasing its beauty, it could significantly boost the local industry and nurture emerging talent,” said Ebrahim

South African Stories

South African filmmakers are increasingly telling stories that are deeply rooted in their own experiences and communities, while finding audiences well beyond the country’s borders.

For producer Chanél Muller, Silas en die Ysbeer op Tafelberg arrives at an exciting time for South African cinema.

“The last few years have been incredibly exciting for South African cinema. We’ve seen our fellow filmmakers tell bold, deeply personal stories that have found audiences far beyond our borders, and the recognition they’ve received internationally has shown that there’s a real appetite for authentic South African voices. It’s really inspiring because every film that breaks through helps create more opportunities for the rest of the industry.”

Muller hopes Silas en die Ysbeer op Tafelberg can form part of that momentum. At its heart, the film is unmistakably South African, from its setting and language to the world it creates, while its themes remain universal.

“I hope Silas en die Ysbeer op Tafelberg finds its place within that momentum. It’s a story that’s unmistakably South African: In its setting, its language and its heart. However, at its core it’s about themes that anyone can relate to. I think that’s where our industry is at its strongest: when we stop trying to make stories that could happen anywhere and instead tell stories that could only happen here,” said Chanél

For Chanél, that is where the real opportunity lies, creating films that are rooted in South Africa while still allowing audiences around the world to recognise something of themselves in the story.

“For me, that’s the exciting part. If Silas can contribute, even in a small way, to the growing confidence in South African filmmaking and remind audiences here and abroad that our local stories have universal value, then I’ll be incredibly proud. That’s the kind of work I hope we’ll continue to make. Stories that are rooted in where we come from, but that invite people from around the world to see a part of themselves in them,” said Chanél

Perhaps fittingly for a story centred on imagination, actor Beer Adriaanse, who plays Brommel, hopes audiences leave the cinema with a renewed sense of possibility.

“I can only hope people take away the idea that Husse, and many other mythical creatures really exist, and will appear – and possibly befriend – those with open hearts who need backup or good conversation on their current adventures.”

While delivered with a touch of humour, the sentiment speaks to something at the heart of Silas en die Ysbeer op Tafelberg: the idea that imagination can help us make sense of difficult experiences, and that even in moments of loss, there is room for wonder.

As Silas en die Ysbeer op Tafelberg prepares to meet audiences for the first time at the Silwerskerm Festival, it arrives carrying more than the promise of a family adventure. It represents a celebration of Cape Town’s creative potential, the strength of local filmmaking, and the power of stories that are deeply rooted in home. And perhaps, most importantly, it reminds us that sometimes the most extraordinary journeys begin with a little imagination.

The post Silas en die Ysbeer op Tafelberg: A Cape Town story of imagination, loss and wonder appeared first on Film Cape Town.

Q. This year’s Silwerskermfees programme brings together established names and exciting new voices. What stood out to you most while curating the 2026 lineup 

And what lineup it is! What really stood out is that the exceptional voices continue to diversify. This year, Zandré Coetzer from 2025’s My f*k, Marelize! brings us Silas en die Ysbeer op Tafelberg, while Nico Scheepers from Hen brings us Landmyn. The fabulous duo Devon Delmar and Jason Jacobs wowed us with Carissa last year and now we get to see their adaptation Al wat ek weet. Besides these seasoned filmmakers, the rising voices are as astounding in variety and clarity, whilst the doccies annually gather momentum and strength. To also have Invisible from Deon Meyer and a second season of the acclaimed international co-production Spinners on our programme, feels world class.  

Q. If you had to describe this year’s Silwerskermfees in three words, what would they be and why? 

Brave. We don’t shy away from difficult stories. Colourful. Our spaces and faces are vibrant with joy.  Vivacious. We are all brimming with enthusiasm and energy, ready to share, connect and celebrate.  

Q. What trends or fresh perspectives are you seeing from this new generation of storytellers? 

Every year just gets better! Lowing taboo themes coming through in a non-performative slice of life way, as in the LGBTQI Drama As ek kon kies, and creative courage shining in an experimental piece like Change, shot form the perspective of a R2-coin. The interesting personal doccie perspective in Rooi van Aard is fun and unapologetic whilst we blend handmade cinema with new technology in Silas en die Ysbeer op Tafelberg.  

Q. This year’s programme includes feature films, documentaries, television previews, industry sessions and community screenings. How do these different elements work together to strengthen South African storytelling? 

At the Silwerskermfees our goal is always to make the festival as informative, educational and memorable an experience as possible. By including various genres, and television content at a film festival, we make the circle bigger to stimulate the entire ecosystem. We aren’t afraid to talk about difficult topics, like how to build a career beyond commissioning work, or how artificial intelligence and artistic integrity can coexist. International and local specialists teach on industry relevant topics and skills, like audience design and festival circuits, and many stakeholders are offered a platform to strut their stuff and speak their mind. The content always speaks loudest and the two award ceremonies are designed to honour craftsmanship, so we can cheer each other on! 

Q. Are there any themes or conversations that naturally emerged across this year’s films, even if they weren’t intentionally planned? 

Thematically, we have quite a few stories dealing with grief. All three our feature films work with this in such surprising ways, and a few of the short films also meandering into this territory with grace. Coming-of-age stories intertwined with life-death-life cycles. It’s profound! On a technical level, this year the composers of original scores in the three feature films are all magicians in their own right. Music to our ears! 

Q. What are you most proud of in this year’s edition?  

We asked the producers to think outside the box and come up with ideas to extend the festival goers’s experience of each title beyond the cinema. We are still curious about how this “Audience design” initiative is to pan out, but I can vouch for an incredible team of creative minds planning a whole lot of parties! Looking forward to spending even more collaborative time in connection with everyone.  

Q. For someone attending Silwerskermfees for the first time, what experiences or moments would you encourage them not to miss? 

The feature films (Silas en die Ysbeer op Tafelberg, Landmyn & Al wat ek weet). These also repeat on the Saturday if tickets to the premieres sell out! Highly recommended also, are the pilot episodes of television dramas (Invisible & Spinners S2) and documentary series (Die Bom, Tweespalt & Meer as warm gloede). And of course the very glamorous award ceremony held at the CTICC on Saturday evening. First we watch the rugby together, then we celebrate each other, and then it’s the biggest party Cape Town has seen in a while.  

Q. Beyond the red carpets and premieres, what do you hope filmmakers, industry professionals and audiences take away from this year’s festival? 

My hope is that they feel inspired, encouraged and refreshed to do what they love and be reminded we’re in this together.  

Q. Why is it so important that local stories continue to be created, celebrated and shared on platforms like Silwerskermfees? 

Stories are medicine. It’s ancient and it stirs us deeper than we can understand with our conscious mind. Coupled with an in-person experience, shared with our peers and fellow storytellers, in a safe and vibrant setting, is invaluable.  

Q. What impact do you hope this year’s Silwerskermfees will have on South Africa’s film and television industry? 

I hope that the festival will remind the industry that content is powerful and worth investing our money and energy in, that the connections made will spark joy and momentum, that the stories will touch festival goers across perceived barriers and that we will go forth and do it all again next year! 

The post In Conversation with Tina Kruger: Celebrating 14 Years of Silwerskermfees appeared first on Film Cape Town.