South Africa at Cannes: A Story of Overlooked Talent and Systemic Barriers

The Cannes Film Festival remains synonymous with Hollywood glamour, it also serves as a vital  platform for lesser-known filmmakers and actors to gain recognition for their exceptional work often produced on budgets far smaller than those of major studios.  

This year was particularly remarkable for Middle Eastern cinema. The prestigious Palme d’Or was  awarded to Iranian writer-director Jafar Panahi for his gripping thriller "Unsimple Accident," filmed  without approval from the Islamic Republic. Meanwhile, "Once Upon a Time in Gaza" won Best  Director in the Un Certain Regard section, and Iraqi filmmaker Hassan Hadi took home the Camera  d’Or for "The President’s Cake." French-Algerian actress Nadia Melliti earned Best Actress for her  role in "The Little Sister," and Palestinian director Tawfeek Barhoum won the Palme d’Or for Short  Film with "I’m Glad You’re Dead Now." These triumphs highlight not only the exceptional  craftsmanship of Middle Eastern cinema but also the global fascination with authentic, auteur driven stories from the Islamic world.  

In the festival’s 78-year history, only two South African films have been selected for the Cannes  Official Selection. This year, Oliver Hermanus’ "The History of Sound," a privately funded gay  period drama starring Paul Mescal and Josh O’Connor, competed in the main selection. Based on  the eponymous short story, the film marks South Africa’s second appearance in the Cannes Official  Selection.  

The first was Elaine Proctor’s "Friends" (1993), a poignant drama about three women from different  factions of South African society sharing a house in Johannesburg at the twilight of apartheid.  Notably, “Friends" is written and directed by a woman, shot by a female cinematographer  (Dominique Chapuis), and featuring a predominantly female cast, received an Honourable Mention  for the Camera d’Or. This was a monumental achievement, especially considering that, in its 78- year history, only 82 women directors have been included in Cannes’ Official Selection. Today,  Proctor is a critically acclaimed novelist based in the UK. 

As a writer-director, I was inspired by Proctor’s legacy. After completing the screenplay for my  feature "Two Hues," I reached out to her, and to my delight, she responded. She agreed to direct  the film—pending funding—after reviewing the script and offering valuable feedback. For any  writer, such validation is invaluable.  

Bolstered by Proctor’s involvement, I applied for funding through South Africa’s National Film and  Video Foundation (NFVF). Despite her prestige, my applicationswere rejected. Through  conversations with industry insiders, I learned that the NFVF has, over the past five years,  prioritised a select group of producers and directors, maintaining a status quo that sidelines  independent voices, no matter their merit. This raises serious concerns about transparency, panel  selection, and equitable processes.  

Since its inception in 1999, the NFVF has been mandated to promote equity and inclusion in South  African cinema. Yet, in 26 years, it has never funded a single South African film selected for The  Cannes Official Selection. Instead, millions of rands are spent annually on sending delegations to  Cannes, hosting events, and maintaining a presence at the festival, now reduced from a pavilion to  a mere stand. 

In 2018, my documentary "District Six: Rising from the Dust" was showcased at the Marché du  Film. While I initially underestimated its significance, the South African press recognised its impact,  given its exploration of forced removals and District Six’s history.  

Navigating Cannes alone was daunting. The festival’s overwhelming Hollywood-centric  atmosphere, red carpets, star-studded premieres, and industry giants, made it clear that  independent and documentary filmmakers operate on the periphery. However, I eventually found  my footing at Cannes Docs (then Doc Corner), where Pierre-Alexis Chevit expressed interest in my  work and proposed a South African showcase for the following year.  

Back home, I facilitated an introduction between the NFVF and Cannes Docs, only to face  exclusion from the subsequent call for submissions. Fortunately, Cannes Docs intervened with a  direct invitation, forcing the NFVF to include me. Yet, at the festival, our delegation received no  logistical or promotional support, no pitch training, no introductions, and notably no attendance  from NFVF leadership, despite their presence at Cannes. This neglect stood in stark contrast to the  robust support other nations, like Palestine, provided their filmmakers.  

In recent years, the NFVF has funded one documentary annually for a Cannes Docs spotlight— without an open industry call. Instead, selections are made in collaboration with Encounters  Documentary Festival, raising concerns about fairness and transparency. Why should a festival  funded by the NFVF gatekeep such opportunities?  

This year (2025), the NFVF was conspicuously absent from Cannes, with only the IDC and KZN  Film Commission representing South Africa. In a letter to the NFVF Council, Minister Gayton McKenzie  denied travel approval for NFVF, urging compliance with the NFVF Act, which mandates that 75% of its budget be allocated to film production.  

As an industry, we continue advocating for structural reform, transparent processes, adherence to  legislation, and better support for intellectual property. Only then can South African filmmakers truly compete on the global stage.

* Weaam Williams is a multiple award-winning filmmaker, actress and tech founder.

** The views expressed do not necessarily represent those of Independent Media or IOL.