From her first day on set as a production assistant to producing films that travel the world, Khosie Dali’s journey is a testament to the power of persistence, relationships and the stories we choose to tell. In this week’s Film Cape Town Q&A, she reflects on the people and experiences that have shaped her career, the importance of telling African stories, and her vision for creating films that inspire audiences to dream beyond their circumstances.

Q. If you could go back and watch the moment you first stepped onto a set, what do you think that version of you would say about where you are today?

If you could go back and watch the moment you first stepped onto a set, what do you think that version of you would say about where you are today? I remember that moment as if it were yesterday. The set was at the Kimberley Hotel, on Roeland Street (a street I only heard about from the Monopoly board game) and I had absolutely no idea what I was going to do, as a “PA”. By the time I arrived, I had already had a dramatic morning where I was involved in a smash-and-grab incident, but I decided it wasn’t going to ruin my day. I was excited and nervous at the same time, not knowing what to expect. The set was busy and bustling, with dark lighting, cables, props, costumes everywhere and all the furniture rearranged. Everyone was on a mission, knowing what to do and where to go. The costume stylist saw that I was looking around, a bit lost and asked if I was an extra. I just said yes but I mentioned the name of the producer I had come to meet. I went in there for an interview, but that day ended up being my first day on my career. I think that version of me wouldn’t believe that I’m now a producer, managing crews and travelling around the world to film labs and festivals. She’d probably be thinking, “Wow, that lady looks so cool. How is she so confident and how does she know all these people?” She probably wouldn’t believe that some of the same people I met that day became friends, or that I would still know so many of them today. She’d be very proud to see how far we’ve come 

Q.What’s something about working in film and television that you didn’t understand until you experienced it for yourself?

Oh, I think there’s so much, and it’s so hard to answer because back then there was so much I didn’t know, and didn’t even think about. The family/community aspect is something I always find interesting. We spend 12 hours a day with people go through stressful situations together, solve impossible dreams together, celebrate together, and those relationships stay with you. It’s also how filmmaking is actually about people management. Yes producing is about schedules, budgets and logistics but ultimately as a good producer you are managing personalities, emotions, egos, hopes, fears and relationships.

Q. As a producer, is there a story or project you’ve worked on that stayed with you long after production wrapped, and what made it particularly meaningful to you?

Four Corners, directed by Ian Gabriel, definitely stays with me. I was given such an incredible opportunity to learn on that film, because I was involved in the development, preparation and production. I got to experience so many different parts of making a feature. I really enjoyed working with the actors; the young kids, the very experienced cast, the reformed gangsters and even real gangsters. I watched people from the casting process, through rehearsals and then onto set, and it was fascinating to see how everything came together. I also made a lot of meaningful relationships on that job, and I’m still in touch with so many people from the film today. One of the actors was also on my very first feature I produced, and because he knew me from back then he did not even hesitate on jumping on board to be with us. I think that’s some of the things that has stayed with me most; what I learnt about filmmaking, and the people I met along the way.

Q. Producing often means balancing creative ambition with practical realities. How do you protect the creative vision of a project while navigating budgets, schedules and the demands of production?

This one is incredibly tricky, wanting to have your cake and still eat it! I think my biggest strength when it comes to that is my negotiation skills, finding ways to convince people to come on board and actually be excited to do so. The power of forming meaningful relationships always goes a long way. It’s also about knowing that you don’t have to say no to everything. Sometimes you have to find different ways to make sure things happen, while still being realistic about the budget, the schedule and what is possible.

Q. When you’re deciding whether to take on a project, what are the things that make you say, “This is a story worth telling”?

Right now, it’s about the energy that I get from the person approaching me with the story. Their enthusiasm for it, how much work or thought they’ve put into the project, and whether it feels like it could be someone I wouldn’t mind spending a lot of time with, because making a film is a long process. When it comes to the story, I think about: Does it move me? Can I relate to it? If not personally, am I learning something new? Does it say something about the world? Do I “get it” without having to listen to or read it many times? Is there a strong message within it? And, importantly, would I still care about this story after two years of development? Right now, I’m drawn to stories that make me feel something and make me curious about the world or the people in it. I’m interested in stories about Black people and African experiences, whether that’s through history, contemporary life, culture, music, sport, love or the things we dream about. Stories that allow us to see ourselves differently and celebrate where we come from and what we’re capable of.

Q. What do you think makes a strong producer beyond the logistics of getting a project made, and which qualities have become most important to you throughout your career?

A strong producer is someone who has resilience, who can keep going even when facing rejection, challenges and adversity. Someone who’s able to find a good balance between their personal feelings and getting things done. It does get tough and super lonely at times, so one has to find communities to keep their sanity in check. A lot of us experience burnout as well, so it’s also about recognising the importance of having a balance in life and finding your own healthy ways to release and reset. I think you can be very passionate about the work and still recognise that you are a person outside of the work.

Q. Film sets can be intense, unpredictable and often a little chaotic, what’s the most unexpected thing that’s happened to you on set? 

Yeah! So many things happen. There have been times when we’ve arrived on set and the production design is not at all what was discussed through numerous meetings and verification checks. The clients are about to arrive, the crew and cast are ready, and suddenly you have to get the whole crew involved in a solution attack and figure out how to make it work. But a beautiful and completely unexpected thing that I really loved recently,was being on set when we had a herd of elephants in the bushes come into frame as if they were paid background, at exactly the perfect time. That was so magical. Evryone on set went deadstill, so as to not ruin the moment. You can plan so much on a film set, but you can’t plan for something like that

Q. Cape Town has played everything from small-town streets to international cities on screen, if you could transform one Cape Town location into the setting of your dream film, where would you choose?

The townships, man. If I had to pick one, I’d say Khayelitsha. It’s so vibrant and full of energy. It’s the streets, the people, the movement, the contrast between hardship and joy, and the sense of community. I’d make a coming-of-age fantastical film set there, where young people can see themselves and see possibilities beyond their dreams. I’d love to show a side of Khayelitsha that feels magical and full of possibility, while still being rooted in the reality of the place. And actually, one of the things I’m enjoying about working on Street Surfer, (feature film in development) is that we’re looking at Cape Town in a completely different way. We’ll recreate the 1990s through locations around Woodstock and Sea Point. There’s something exciting about using places we know so well and making audiences see them as another time and another world. That’s one of the things I love about film, that we can transform a place without changing the place itself

Q. What’s one thing you wish audiences understood about what happens behind the scenes of making a film or series?

Just how much work goes into making something look so effortless. At the same time, I think the audience’s job is to just enjoy the film without thinking too much about everything that went into making it. As filmmakers, when we watch a film, we’re thinking about the locations, the costumes, the acting, the lighting, the production design, all with a critical eye. There can be so much happening behind one simple moment on screen, and the audience doesn’t necessarily need to know any of that. If they’re completely absorbed in the story, then we’ve done our job

Q. South African stories are travelling further than ever what kind of local story do you think the world is still waiting to discover?

As I mentioned briefly, I think it’s a story where Black kids are allowed to escape and dream their way out of poverty or difficult circumstances. A film where they can see themselves as the powerful human beings they are. I’d love to see stories where they can imagine, be magical, be funny, flawed and adventurous, without poverty being the entire story. Stories where they can dream freely, see possibilities beyond their circumstances and imagine a future that is bigger than what they currently see around them.

Q. If you had unlimited creative freedom, no budget, no schedule and no rule, what kind of film or series would you make?

Stories of love, hope and fantasy, where the sets feel like dreams and storybooks. If there were genuinely no budget and no rules, I’d want to create completely impossible worlds — enormous sets, fantastical cities, places that don’t exist, worlds that feel like you’ve stepped inside a dream. I’d love to make the kind of films where you can imagine anything. Maybe even an anthology series where every episode creates a completely different world, like Black Mirror, but with the freedom to go completely wild with the visual world-building. One story could take place in a futuristic African city, another in a magical world, another somewhere completely outside anything we recognise. I’d want to create films that make people say, “How did they even make this?” and then get completely lost in the world. I think there’s something really special about films that allow you to dream — and if there were no budget, I’d want to take that as far as humanly possible.

Q. When you look at the next chapter of your career, what’s the one thing you’d love to do that would make you think, “Okay, I’ve really done it”? 

I’d love to have a bigger slate of films, create opportunities for young filmmakers and continue making work that genuinely affects people’s lives. I’m also interested in finding ways for film to have a much bigger impact in Black communities beyond just watching the film. I want to bring more African cinema into communities, create spaces where people can experience and engage with our stories, and help grow audiences for African films. I want to build an ecosystem around the work that creates opportunities, develops people, grows audiences and can sustain my career as well as the careers of the people working alongside me. I think that would make me feel like I’ve really built something, something that can continue beyond any one project

The post Telling African stories that inspire with Khosie Dali appeared first on Film Cape Town.

What first sparked your interest in acting, and what made you pursue it professionally?

My journey into entertainment actually started through modelling in 2016, and that experience opened my eyes to the world of performance. I realised that what attracted me wasn’t only being in front of a camera, but the ability to communicate something through presence, emotion and storytelling.

Acting became the natural next step for me because I wanted to go beyond simply being seen and actually have something to say through the characters I played. My acting debut was in Poppie Nongena, alongside incredible performers like Clementine Mosimane and Nomsa Nene, and that experience showed me very early on what it means to take the craft seriously.

Since then, I’ve approached acting as a craft that requires constant learning. Every character, every director and every production has taught me something different, and that’s what continues to make the journey exciting for me.

Looking at your career so far, how would you describe your growth as an actor? Are there particular moments or roles that you feel changed the way you approach your craft?

I think my biggest growth has been learning to trust myself more as an actor. When I started, there was naturally a lot of self-consciousness you know, wanting to make sure I was doing everything correctly. As I’ve gained experience, I’ve realised that sometimes the most powerful performance comes from being present and allowing yourself to actually live in the moment.

Poppie Nongena was a very important starting point for me because I was surrounded by actors with so much experience. Being part of that production taught me about discipline and about respecting the story you’re part of.

Donkerbos was another important step because it allowed me to work within a darker, more complex world. The series moves between English, Afrikaans and Venda, and being part of a production like that expanded my understanding of how language and culture can influence storytelling.

Then Kelders van Geheime brought another kind of growth. Athandwa is a character I connected with personally, so I had to learn how to use parts of myself without simply playing myself. That has made me much more conscious of the difference between identifying with a character and actually creating a character.

You’ve worked across television, film and different genres. How do you approach preparing for a new character, especially when the role is very different from anything you’ve played before?

I start with the person before I start with the performance. I want to understand who this person is, where they come from, what they want, what they fear and what has happened to them before the audience meets them.

I also spend a lot of time thinking about the character’s circumstances. What is their environment? How do they speak? How do they carry themselves? How do they respond when they’re under pressure?

The more different the character is from me, the more curious I become. I don’t want to judge the character from the outside. I want to understand their logic, even if I don’t agree with their choices.

And then there comes a point where you have to stop thinking and trust the preparation. For me, that’s when the character starts becoming alive.

What has been one of the most challenging characters you’ve had to portray, and what did that experience teach you about yourself as an actor?

Athandwa in Kelders van Geheime has definitely been one of the most meaningful challenges for me.

What made him challenging wasn’t necessarily that he was completely different from me. In fact, it was the opposite. Athandwa and I share similarities in terms of coming from humble beginnings and wanting to make something of ourselves. He is also someone who remains grounded when the people around him become emotional.

His story also carries a lot of emotional weight, particularly the loss of his mother and everything that happens around his family. I had to understand how someone carries that kind of pain while still choosing to move forward.

That experience taught me that sometimes you don’t have to manufacture emotion. You have to understand the character deeply enough that the emotion comes from the circumstances. It made me trust subtlety more and reminded me that strength in a character doesn’t always have to be loud.

You’ve worked on Afrikaans-language productions, including Kelders van Geheime. What has that experience been like from an acting perspective, and has working in another language influenced the way you approach a character or performance?

It’s been a really valuable part of my development.

I’ve worked in Afrikaans productions before, so Kelders van Geheime wasn’t my first experience in that world. I also understand and speak some Afrikaans, which helped me navigate the environment.

But working in another language still makes you more conscious of your performance. You become very aware of pronunciation, rhythm, intention and the way a character communicates beyond just the words they’re saying.

What I really appreciated about Kelders van Geheime was the opportunity to learn about a different cultural environment and even things like life on a farm. It reminded me that acting is also an opportunity to step outside of your own experience and understand how other people live.

I think working across languages has ultimately made me more attentive as an actor. I listen more carefully, and I think more about what exists underneath the dialogue.

Acting often requires you to find something personal in a character while still creating someone completely different from yourself. How do you find that balance when building a role?

I think the key is finding the emotion rather than copying the circumstances.

A character might have a completely different life from mine, but they can still experience things that I understand love, ambition, fear, disappointment, family, loss or the desire to be accepted.

That’s where I find the connection.

Once I’ve found that emotional truth, I can then build the things that make the character different from me, their background, their mannerisms, their circumstances, their way of speaking and the choices they make.

Athandwa was a good example of that because there are elements of his story that feel familiar to me, but he is still his own person. I don’t want the audience to see Aphiwe pretending to be Athandwa. I want them to meet Athandwa.

What have you learned from working with different directors, actors and crews throughout your career? Has there been a particular person or experience on set that had a lasting impact on you?

I’ve learned that filmmaking and television are collaborative art forms. You can prepare as much as you want as an actor, but you’re still part of a much bigger machine, and you have to respect every person contributing to the final picture.

One of the biggest lessons has been learning to listen. Sometimes a director will give you one small adjustment that completely changes the scene. Sometimes another actor gives you something unexpected and you have to respond to it rather than sticking rigidly to what you planned.

My first production, Poppie Nongena, was particularly significant because I was working alongside people like Nomsa Nene and Clementine Mosimane so early in my acting journey.

More recently, working with Mbulelo Grootboom and Aviwe Ngabom on Kelders van Geheime reminded me how important genuine relationships are between actors. Aviwe and I developed that brotherly connection very naturally, and it made the work feel truthful.

The South African screen industry is constantly evolving, with more locally produced stories reaching different audiences. What excites you most about the opportunities available to South African actors today?

What excites me most is that we have so many stories that haven’t been fully explored yet.

South Africa is incredibly diverse. We have different languages, cultures, communities and histories, and I think there is enormous potential in telling those stories in ways that feel authentic while still reaching audiences beyond our borders.

I’ve experienced that personally through productions that move between different languages and cultural environments. Donkerbos, for example, combines English, Afrikaans and Venda, while Kelders van Geheime has given me the opportunity to work in an Afrikaans-language production as a Xhosa actor.

I think the exciting thing is that South African actors don’t have to limit themselves to one kind of story or one kind of audience. We can tell local stories with a global ambition.

For me, the goal is to keep growing while representing where I come from authentically.

Cape Town has been an important backdrop for so many South African productions. What has working in the city and being part of its film and television industry meant for your career?

Cape Town is home for me, so being able to build a career here is something I don’t take for granted.

I was born and raised in Khayelitsha, and Cape Town has shaped a huge part of who I am.

There is something special about being able to work in an industry that is happening in the same city that raised you. You see different communities, landscapes and cultures around you every day, and all of that becomes part of your understanding as a storyteller.

Cape Town has also shown me that you don’t have to come from the traditional centres of the entertainment industry to build something meaningful. You can come from a township, have a very specific story and background, and still find your place on screen.

For me, Cape Town isn’t just a location where I work. It’s part of my identity, and I think that naturally comes through in the stories and characters I choose.

When you look at the next chapter of your career, what kind of roles or stories would you love to take on that would push you creatively and show audiences another side of Aphiwe Sithole?

I’d love to take on roles that people wouldn’t immediately expect from me.

I want to explore characters that are psychologically complex and emotionally demanding, characters where the audience might not immediately know what they’re thinking or what they’re going to do next.

I’d also love to explore more genres. Drama has given me a strong foundation, but I’d be interested in challenging myself with more action, psychological thrillers, crime, comedy and even international productions.

Ultimately, I don’t want to be defined by one character or one type of role. I want to have a career where, years from now, people can look back and see a real range.

I’m also interested in stories that say something about who we are as South Africans and Africans, but without feeling like I’m trying to prove anything. I want the story to come first.

The next chapter for me is really about expansion as an actor, as a storyteller and as a creative. I want to keep surprising people, including myself.

The post For Aphiwe Sithole, every role is a chance to learn appeared first on Film Cape Town.

Cape Town’s filmmaking talent will take centre stage at the fourth edition of the FAME Shorts Film Festival, with 9 short films from Cape Town forming part of a programme of 36 films from around the world. 

The FAME Shorts Film Festival celebrates diverse voices and perspectives through a programme of films spanning a range of genres and themes, including cultural heritage, modern life, diasporic identity, historical events and pressing socio-political issues. The festival also shines a spotlight on personal stories and biographies. 

Taking place from 28 to 30 October, FAME Shorts Film Festival will offer a variety of events and experiences for filmmakers and festivalgoers to enjoy. As part of FAME Week Africa, the festival will also feature content sessions, workshops and masterclasses presented by industry professionals. 

Lerato Bokako, Artistic & Programming Director of FAME Shorts Film Festival, said: “I’m very excited to be going into my second year as festival director for the FAME Shorts Film Festival. The films this year had us feeling inspired and excited about all the talented filmmakers that the festival keeps attracting each year. This is our first year falling on a halloween weekend so excited to be showcasing some spooky, surrealist shorts. We’re travelling the world through these films, championing filmmakers of colour from Somalia to Brazil and many places in between! This year the festival will be closing out with APART, an animated short film directed by Pola Maneli, written by Spike Lee with music by Black Coffee” 

FAME Shorts Film Festival screenings will take place at The Rockefeller Hotel in Cape Town, with tickets available via Quicket, starting at R75. 

Films set in Cape Town 

Dread 

Klop Klop  

Queezy Visits the Races  

Amigo the Griot   

Films by filmmakers based in Cape Town 

Colour of Dreams 

Talking to Family  

Aasvoëls (Vultures) 

The Man, the Cliff, the dog 

 Poppy on a Hill 

The post 9 Cape Town short films to be showcased at FAME Shorts Film Festival  appeared first on Film Cape Town.

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.