south africa 2010-2014

Transcription

SOUTH AFRICA 2010-2014
(1) BY THE NUMBERS
(A) MARKET STATISTICS
Screens
Theatrical admissions (millions)
Per capita attendance
Box office (EUR millions)
Releases
Domestic releases
US releases
German releases
Domestic market share
German market share
2010
2011
2012
2013
2014
AVERAGE
857
26.0
n/a
51.7
204
23
131
2
11.3%
0.29%
750
30.0
0.5
53.3
202
22
154
2
12.6%
0.95%
734
22.4
0.4
43.4
254
16
143
5
11.5%
1.21%
865
22.4
0.4
70.1
204
25
156
0
10.1%
-
757
37.4
0.7
62.5
228
23
154
3
6.1%
0.36%
3963
27.6
0.5
56.8
218
22
148
3
10.3%
0.36%
*Box office figures for major cities only. EUR equivalents are calculated throughout at the exchange rate for December 31 of the year in question.
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Market Study South Africa 2010-2014, Oct 2015, by Split Screen for German Films
Percentage of annual box office
South Africa: Market Shares 2010-2014
14
12
10
8
Domestic
6
German
4
2
0
2010
2011
2012
2013
2014
South Africa : Theatrical Releases 2010-2014
300
250
200
Total
150
Domestic
100
US
German
50
0
2010
2
2011
2012
2013
2014
Average
(B) THEATRICAL RELEASES
TITLE
DISTRIBUTOR
RELEASE DATE
BOX OFFICE
$US
Ster Kinekor
UIP (South Africa)
26.03.10
30.07.10
151,078
44,774
Sony Pictures South Africa
Nu Metro
Nu Metro
Nu Metro
Nu Metro
UIP (South Africa)
Nu Metro
Ster Kinekor
Nu Metro
UIP (South Africa)
Ster Kinekor
10.09.10
15.10.10
29.01.10
05.11.10
21.05.10
12.11.10
10.12.10
07.05.10
10.01.10
30.07.10
28.05.10
450,701
276,717
209,739
148,095
65,716
30,933
30,809
27,256
11,794
8,201
6,858
THE THREE MUSKETEERS (Ger/Fr/UK/US)
KONFERENZ DER TIERE (Ger)
Nu Metro
Nu Metro
14.10.11
27.05.11
452,619
205,026
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2010 GERMAN FILMS (100% OR MAJORITY CO-PRODUCTIONS)
THE LAST STATION (Ger/Rus/UK)
DAS WEISSE BAND (Ger/Aut/It/Sp)
2010 GERMAN MINORITY CO-PRODUCTIONS
RESIDENT EVIL: AFTERLIFE (UK/Ger/US)
MÄN SOM HATAR KVINNOR (Swe/Ger/Nor)
NINJA ASSASSIN (US/Ger)
FLICKAN SOM LEKTE MED ELDEN (Swe/Fr/Ger)
THE GHOST (Fr/Ger/UK)
EYES WIDE OPEN (Isr/Fr/Ger)
LUFTSLOTTET SOM SPRÄNGDES (Swe/Fr/Ger)
SÉRAPHINE (Fr/Bel/Ger)
WHERE THE WILD THINGS ARE (US/Aus/Ger)
ANTICHRIST (Den/Fr/Ger/It/Swe)
FAUBOURG 36 (Fr/Ger/Cz)
UNKNOWN (US/Ger/UK/Fr)
HANNA (US/UK/Ger)
ANONYMOUS (UK/Ger)
BLACK BUTTERFLIES (NL/Ger/SA)
CHALET GIRL (UK/Ger/Aut)
SKOONHEID (SA/Fr/Ger)
Nu Metro
Ster Kinekor
Ster Kinekor
Nu Metro
UIP (South Africa)
Swift 2.0
08.04.11
27.05.11
04.11.11
21.10.11
22.07.11
05.08.11
974,313
142,528
64,968
53,640
19,799
10,794
Ster Kinekor
Ster Kinekor
Ster Kinekor
Ster Kinekor
Ster Kinekor
14.09.12
02.11.12
04.05.12
22.06.12
13.07.12
398,060
296,055
n/a
n/a
n/a
Ster Kinekor
Nu Metro
Ster Kinekor
Ster Kinekor
Ster Kinekor
Ster Kinekor
11.05.12
09.03.12
09.11.12
23.03.12
16.03.12
19.10.12
939,671
102,850
35,297
21,682
n/a
n/a
UIP (South Africa)
Nu Metro
Nu Metro
UIP (South Africa)
UIP (South Africa)
22.02.13
13.09.13
04.10.13
28.06.13
19.07.13
821,836
186,130
153,681
149,341
n/a
RESIDENT EVIL: RETRIBUTION (Ger/Can)
CLOUD ATLAS (Ger/US)
DER GANZ GROSSE TRAUM (Ger)
GOETHE! (Ger)
VINCENT WILL MEER (Ger)
THE VOW (US/Brz/Fr/Aus/UK/Ger)
TINKER TAILOR SOLDIER SPY (UK/Fr/Ger)
HYSTERIA (UK/Fr/Ger/Lux)
CARNAGE (Fr/Ger/Pol)
MELANCHOLIA (Den/Swe/Fr/Ger)
STREETDANCE 2 (UK/Ger/It)
HANSEL & GRETEL: WITCH HUNTERS (US/Ger)
THE MORTAL INSTRUMENTS: CITY OF BONES (Can/Ger)
RUSH (US/UK/Ger)
SONG FOR MARION (UK/Ger)
AMOUR (Fr/Ger/Aut)
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TARZAN 3D (Ger)
LOVE, ROSIE (Ger/UK)
MR. MORGAN’S LAST LOVE (Ger/Bel/Fr/US)
Times Media
Times Media
Ster Kinekor
14.11.14
12.12.14
12.09.14
150,225
98,962
n/a
Times Media
Times Media
Nu Metro
Nu Metro
Cristal Brooke
Cinema Nouveau
21.02.14
20.03.14
24.01.14
14.02.14
11.07.14
08.08.14
276,152
254,863
229,776
224,388
72,510
n/a
Cinema Nouveau
22.08.14
n/a
POMPEII (Can/Ger)
THE GRAND BUDAPEST HOTEL (US/Ger)
THE BOOK THIEF (US/Ger)
THE MONUMENTS MEN (US/Ger)
THIRD PERSON (US/UK/Ger/Bel)
NYMPHOMANIAC: VOLUME 1 (Den/Ger/Fr/Swe/Bel)
NYMPHOMANIAC: VOLUME 2 (Den/Ger/Fr/Swe/Bel)
(C) TOP 8 GERMAN FILMS IN SOUTH AFRICA
THE THREE MUSKETEERS (2011)
RESIDENT EVIL: RETRIBUTION (2012)
CLOUD ATLAS (2012)
KONFERENZ DER TIERE (2011)
THE LAST STATION (2010)
TARZAN 3D (2014)
LOVE, ROSIE (2014)
DAS WEISSE BAND (2010)
ADMISSIONS
BOX OFFICE (EUR)
215,532
153,100
113,867
97,631
72,985
61,568
40,558
21,630
349,422
301,729
224,410
158,280
115,726
124,086
81,743
34,297
No further information available.
Average admissions for a German film in South Africa, 2010-2014: 64,773
Average box office for a German film in South Africa, 2010-2014: EUR 115,879
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(2) DISTRIBUTORS OF GERMAN FILMS IN SOUTH AFRICA
(A) STUDIO AFFILIATE
UIP (South Africa)
2010 DAS WEISSE BAND
(B) INDEPENDENTS
7 TITLES
Ster Kinekor
2010 THE LAST STATION
2012 CLOUD ATLAS; DER GANZ GROSSE TRAUM; GOETHE!; RESIDENT EVIL: RETRIBUTION; VINCENT WILL MEER
2014 MR. MORGAN’S LAST LOVE
2 TITLES
Nu Metro
2011 KONFERENZ DER TIERE; THE THREE MUSKETEERS
Times Media
2014 LOVE, ROSIE; TARZAN 3D
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(3) VOD AND DVD IN SOUTH AFRICA
Many of the general conclusions about the South African DVD and VOD business are similar if not identical to those concerning theatrical outlined in greater
detail in Section (4) below: that the market is best understood as an offshore English-language market which is gradually evolving into something more
uniquely suitable to the Rainbow Nation.
In 2011, in the South African National Film & Video Federation 10-year report, 24 DVD distributors were registered in South Africa, but only seven responded
to the SANFV’s questionnaire, reporting total revenue of ZAR 25.334 million (€2.48 million) in annual sales. Any attempt to extrapolate overall revenue from
so small a sample would be dangerous, but it seems fair to assume that overall video (DVD and Blu-Ray) turnover is between 60% and 80% of theatrical box
office, putting it somewhere in the region of $30-40 million (€25-30 million). South Africa is not on the MPAA’s piracy watch list (possibly because of lack of
data), but local sources have calculated that piracy accounted for 60% of the market in the mid-2000s.
Among the online video retailers checked for an earlier German Films report, the overwhelming majority offered mainly or exclusively films that were from
the US. None that we found listed ‘Foreign’ as a menu option. On kalahari.com, taken as typical, 83% of the titles were American, with the remainder made up
mainly of UK (8%) and local South African (5%) titles. All of the remaining 4% were either English versions or dubbed into English.
At that time (2013), the choice for those wanting to rent a ‘foreign-language’ DVD from specialist store DVD Nouveau (slogan: ‘Classic & Art Movies for Rent’)
proved to be considerably better. Indeed, the choice of ‘foreign’ movies on the site was wider than can usually be found in most territories outside Europe.
This suggests that (in this case at least) a local entrepreneur has been assiduously importing foreign-language films since the heyday of the rental era and is
still doing enough business to survive. This would seem to confirm the existence of a sophisticated (but quite small) middle-class eager to keep up with
contemporary cinema. Particularly indicative of the site’s diversity is the fact that ‘other’ (see below) is almost the largest single category.
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South Africa: Specialist DVD titles by country of origin
France
Japan
Italy
Germany
Spain
Other Europe
Other
Other Europe = Austria; Belgium; Czech Republic; Denmark; Finland; Greece; Hungary; Iceland; Netherlands; Norway; Poland; Portugal; Sweden and UK.
Other = Afghanistan; Argentina; Australia; Brazil; Canada; Chile; China; Cuba; Hong Kong; Iran; Israel; Korea; Mexico; Palestine; Russia; Senegal; Taiwan;
Tajikistan; Thailand; Turkey; Uruguay; Venezuela and Vietnam.
German titles = AGUIRRE DER ZORN GOTTES; AIMEE & JAGUAR; BELLA MARTHA; DIE BITTERE TRÄNEN DER PETRA VON KANT; DER BLAUE ENGEL; DIE
BLECHTROMMEL; DAS BOOT; DIE BÜCHSE DER PANDORA; BUENA VISTA SOCIAL CLUB; DAS CABINET DES DR. CALIGARI; CHRISTIANE F – WIR KINDER
VOM BAHNHOF ZOO; DIE EHE DER MARIA BRAUN; EUROPA, EUROPA; DAS EXPERIMENT; DIE FETTEN JAHRE SIND VORBEI; FITZCARRALDO; GOOD BYE,
LENIN!; HEIMAT; HEIMAT 2; HÖSTSONATEN; HERZ AUS GLAS; DER HIMMEL ÜBER BERLIN; DAS LEBEN DER ANDEREN; LOLA RENNT; LOLA UND
BILIDIKID; STROSZEK; TATTOO; DER UNTERGANG; WAS TUN WENN’S BRENNT; DAS WEISSE BAND; and DAS WUNDER VON BERN.
Since that survey, VOD has taken firm root in South Africa, with the market lead by three main contenders: Netflix, which arrived in August 2015; and two
local platforms which got in first by a few months. These were FrontRow, owned by mobile network provider MTN; and Vidi, owned by Times Media (which
also recently launched a theatrical distribution subsidiary). FrontRow’s content – both its ‘MTN Club’ and ‘MTN Premiere’ options – is analysed below.
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South Africa: VOD titles on FrontRow by country of origin
US
UK
Australia
France
Other Europe
Other
The result, not surprisingly, is a Hollywood-dominated site in terms of content, with more new titles than Netflix but the same limited diversity, offering some
entertaining evenings in for South African viewers but little in the way of business opportunities for European producers.
Other Europe = Denmark, Germany and Ireland.
Other = Canada, China, Hong Kong and South Africa.
One German title: THE THREE MUSKETEERS.
(4) SOUTH AFRICA: COMMENTARY
South Africa is a slightly curious market for a country with the highest level of economic development in Africa and with a well-established and extensively
modernised infrastructure, at least in the major cities of Capetown, Durban, Johannesburg and Pretoria. But, with its limited number of non-mainstream
releases and Hollywood domination, South Africa still looks like what it used to be: an offshore English-language market without the cultural dimensions of
the film business that has transformed such other English-language markets as Australia, New Zealand and even Canada.
Statistics also remain an issue. With Statistics South Africa understandably more concerned with water supplies and sanitation, and the South African
National Film & Video Foundation focused on the support, production and export of South African movies, precise data about the theatrical, TV and ancillary
distribution businesses in South Africa has traditionally been hard to come by, although the situation has improved considerably over the past couple of
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years, thanks to the NFVF’s annual box office report. However figures are not always consistent, and different sources sometimes offer radically different
information. An examination of the basic statistics in 1 (a) carries more than a hint of estimate.
There is clearly an educated middle-class audience that can be tapped into in the four major cities mentioned above, but they are not offered much in the way
of foreign and/or arthouse sustenance. The classic vicious circle – limited supply leads to limited demand and thus limited supply – seems to rule. Without a
theatrical engine to create a taste for arthouse films on TV, DVD or VOD, South Africa is living proof of the claim that these platforms – binge-viewing Netflix
miniseries notwithstanding – need a period of theatrical visibility before they will be welcomed into homes.
(5) GERMAN FILMS IN SOUTH AFRICA
There is not a great deal to be said about German films in South Africa. Only 12 were released there in the five-year period surveyed. Of those 12, eight were
English-speaking or (the children’s films) dubbed. For the three ‘German stories’ released (DER GANZ GROSSE TRAUM, GOETHE! and VINCENT WILL
MEER), no admissions or box-office data is available.
For the one German arthouse film, DAS WEISSE BAND, the admissions total was about average for that film’s foreign career. But one thing worth remarking
on here is that it was released by the South African branch of UIP, indicating not so much the major’s openness to arthouse as the limited number of
distributors active in South Africa. Indeed, before the advent of newcomers Times Media and Cinema Nouveau in 2014, the choice was basically between UIP,
or exhibitors/distributors Nu Metro and Ster Kinekor. That is one of many things that still needs to change before the South African market can truly open up
to a wider range of films, let alone German ones.
As it is, with the theatrical market so limited, the chances of a more diverse ancillary market also remain slim.
The charts below – the second of which is tentative, since there is no box office or admissions data for four of the films – show numbers of releases and box
office revenue for the key groups identified in the introduction to this Report.
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South Africa: Titles released by category
Festival & arthouse
English-language
Children's films
German stories
South Africa: Categories by box office
Festival & arthouse
English-language
Children's films
German stories
(6) SOUTH AFRICA: SOURCES AND ACKNOWLEDGMENTS
XE Currency Converter, National Film & Video Foundation, South Africa Government Online, Statistics South Africa, Gauteng Film Commission, Box Office
Mojo, www.moviesite.co.za, MyBroadband.com, mtn.frontrow.com, Cinando. Special thanks to Jeremy Nathan.
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south africa 2010-2014

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