Canal+’s announcement that it is pulling the plug on MultiChoice’s video streaming service Showmax has left African creators and content producers reeling, worried about their future and extremely concerned about their exit from the continent’s film and television sector.
Appalled, award-winning film and television producers, who spoke to Variety on condition of anonymity because they don’t want to jeopardize their professional relationships or future opportunities, fear what kind of work, and what kind of streaming work, they’ll get from Canal Plus for Africa in the future.
On Thursday, Canal+ confirmed to Variety that it was ending the decade-long run for Showmax, which was launched in 2015 to take on Netflix “after a comprehensive review of its streaming activities.”
Showmax’s closure, which comes two years after Amazon MGM Studios abruptly withdrew from African original production, is causing another round of post-traumatic stress for African producers who are left wondering what and for whom they will produce outside of the terrestrial television channel industry and Netflix.
Disney+ launched in South Africa but not elsewhere on the continent, while Amazon Prime no longer carries originals and has no interest in Apple TV. With HBO Max and Paramount+ also not launched, the opportunity for commissioned streamer fees has shrunk even further after the demise of Showmax, leaving it essentially just Netflix.
On Thursday, Variety broke the news that the ax fell on Showmax just as a panel at the 8th Joburg Film Festival, which is being held this week in Johannesburg, South Africa, was about to take to the stage to discuss “The French Connection” and cooperation between Africa and Europe.
In the room and on stage were the cast and producers of “The Spinners,” as well as Canal+ International’s Head of Film and Series, Laurent Scicouri, who was promoting the upcoming second season of the drag racing car drama series, a co-production between MultiChoice and Canal+, which can’t even be seen on Showmax now as a Showmax Original.
It turned into a very awkward panel session promoting “French Connection,” a show on the platform that just got canned.
African content creators are lamenting the loss of Showmax, which offered them the means to experiment and be more risqué in terms of genre, story and depiction than what MultiChoice commissioned for linear TV channels such as DStv’s African Magic, kykNET and M-Net, which has a more conservative audience.
“We had to hold our breath for a while, and now we’re holding our breath. Again. We’ve spent billions of dollars a year on content production. We’ve seen a bit of a renaissance in content freedom, content creativity and the opportunity to develop the industry across Africa. Now we’re back to square one,” says the award-winning producer and director.
A case in point is something like Nostalgia Productions’ well-received but raunchy R-rated comedy Khaki Fever, which soared up the Showmax ratings charts in September after premiering at the kykNET Silverskelm Film Festival in August.
Created specifically as a Showmax Original, Khaki Fever, a sex romance starring Abel Knobel and Christopher Jafta, would never have seen the light of day as a South African film set on a private hunting farm where a group of rangers compete to see who can connect with the most tourists during the holiday season.
“‘Khaki Fever’ is a perfect example of how Showmax as a streamer allowed African creatives to push boundaries in other mediums than Netflix. Now that’s gone,” says another director and producer.
“Losing Showmax is a huge blow to the local industry,” said another director.
On Friday, Neil Brandt, founder and CEO of production company Storyscope, said during a panel session at JFF that the announcement of Showmax’s closure was a “slap in the face” for the industry.
Keian Williams, Netflix’s director of scripted content for sub-Saharan Africa at the JFF, sought to allay fears about Netflix at a cocktail mixer event the company held for producers and creatives this week, promising that Netflix has no plans to disappear like Amazon or Showmax.
“Netflix is here to stay and we are always ready to invest in Africa. Let me be clear: our investment is our commitment to continue, continue and grow,” she said. Next up, for example, is 180, a gritty crime film produced by Leila Swart and starring Warren Masemola, Bongile Mantsai and Fana Mokoena.
Commenting on Canal+’s Showmax closure, Reach Africa’s Sales Director Leslie Adams said: “The global streaming industry is moving away from a ‘growth at all costs’ phase where subscriber numbers are the priority, and into an era where sustainable economics and scale are far more important.”
“The cost of content, from premium series to sports rights, continues to rise, making it increasingly difficult for platforms to compete without significant scale. As a result, consolidation across the sector is inevitable and we are likely to see more such moves.”
“At the same time, we’re also seeing more bundles, aggregations, and ad-supported models emerging as platforms seek new revenue streams. For viewers, this probably means fewer standalone services, but more powerful platforms, more bundled services, and more combinations of subscription and ad-supported viewing options.”
“A few years ago, Africa’s creative industries were hopeful that the rise of streaming would democratize commissioning, open up space for bold local stories, and ultimately build a sustainable pipeline of pan-African original content. Instead, by early 2026, these dreams have been dashed,” said Anna Marie Jansen van Vuuren, professor of South African film production studies at Tshwane University of Technology’s film program.
“In 2024, Amazon will exit, and now, at the Joburg Film Festival, Variety breaks the news that Showmax, Africa’s largest homegrown streaming service, will close due to unsustainable losses.”
“The impact on Africa’s content ecosystem has been far-reaching. First, a major funding pipeline for local stories has been disrupted. Showmax has been the most important commissioner of African original productions, by far more than any other global streamer.”
“The company had championed radical South African titles such as Wife, Coke the Wife, Adult, Spinners and Khaki Fever, and clearly supported bold, authentic local storytelling. One of the only active buyers of locally-based content in Irisk will be lost. Additionally, Showmax’s library was at the heart of Africa’s creative ecosystem, and its disappearance leaves a hole in local distribution and monetization for creators. ”
“The closure of Showmax will create a gap for international companies with large or medium-sized funds to fund local production of films, series, documentaries and dramas, resulting in South African-owned content being licensed to overseas companies,” said South African media strategist Moses Mtran.
“Showmax has created a space to showcase local African productions, provided significant funding, and created an ongoing channel for local producers and production companies to grow, while providing local, relevant content to African audiences without advertising.”
“MultiChoice is said to be working on a new streaming platform, which we hope will increase local content production, expand funding for multiple productions, and protect Africa’s film and production industry from aggressive international conglomerates chasing content and willing to pay for it. Rights and contractual restrictions could shut down some of Africa’s local production companies.”
