🎉 July 2025 was a month of bold moves and big money in the African creative industries, especially in film.
Canal+ got the final-final approval for its takeover of Multichoice, and the tribunal included the binding condition to spend $1.4 billion in 3 years on South African content. Mzanzi filmmakers rejoice.
On top of that, the rails are being set for two new African film funds to start disbursing cash. And Nigerian filmmakers and film lovers are getting not one, but two new streaming platforms.
🤳⚽️👽 But wait, there’s more - moves in the Creator Economy, Football, and AI, plus a whole bunch of strategic investment announcements.
Get all the deets in this new edition of HUSTLE & FLOW (and don’t forget to subscribe!) 👇
FILM
💰🏃🏾South African filmmakers: $1.4 billion is sitting on your table - go grab it.
Last week, South Africa's Competition Tribunal officially approved the Canal+MultiChoice deal and the angel is in the details.
In order to validate the deal, the Tribunal added some “binding public‑interest conditions”, including $1.4 billion (R26 billion) to be deployed over three years into local content, sports, supplier development and HDP/SMME participation (South Africa's Black-owned businesses and small enterprises)
⏱ The clock started July 23, 2025. It stops mid-2028.
While everyone's debating "what this means for the industry," the money is already earmarked and the conditions are binding.
Canal+ even sweetened the pot by an additional $110 million, bringing the total commitment to $1.55 billion.
Producers, it’s time to move - strategically:
▶️ Pitch for a slate across the full 2025-2028 window, not single projects.
The regulators explicitly wanted "sustained local content".
▶️ Come with projects ready-to-go (you know, the one you’ve been trying to get made for years), not concepts.
Make sure your package is solid, with bibles, pilot scripts if possible, budgets, distribution and financing plans, and delivery schedules.
The money will move toward projects that can start shooting soon.
▶️ “Supplier development” will be a key criteria.
Make sure you design inclusion from day one by integrating HDP ownership, apprenticeships, and skills transfer directly into your budget and production process.
▶️ Now is the best time to negotiate favorable deals.
Negotiate AVOD rights, potential remakes, and international licensing while Canal+ is under regulatory pressure to stimulate the ecosystem.
Their "yes" muscle is stronger right now than it will be in 2029.
This money won’t be there forever. Post-2028, Canal+ is likely to prioritize integration savings over development spend.
🌍🎥 What about NON-South African filmmakers, you ask?
Well first, don’t forget that you could partner on a co-production with a South African outfit to tap into the Canal+ bounty.
But more funding is also on its way - and it is not tied to a specific country:
Next Narrative Africa’s $40 million Film Fund just closed its first open call. Out of this first call, it expects to provide between $20,000 and $100,000 in development grants to 6-10 “narrative-shifting” African film or TV projects.
For context, this is noticeably higher than the average development deal amount offered by Africa’s top buyers (such as Netflix, Canal+ or Showmax), which is usually around $10,000-$30,000.
NNA says that it will look in priority for commercially viable projects with budgets around $3-$7 million, in which NNA may invest up to 20% in equity. Again, this is much higher than the current average budgets for African films. Only Netflix’s South African budgets are in that range.
🤔 Can newcomer NNA identify better projects through this process than the experienced development teams at Netflix, Amazon, Canal+ and Showmax?
The NNA Fund winners are expected to be announced in December, so we’ll have the answer soon.
🤝 Meanwhile, EbonyLife, IFC and AfDB have announced their collaboration “to explore the conditions for the creation of a pan-African investment vehicle targeted at the region’s film sector”.
So, that’s prime DFI-speak. But what does this mean EXACTLY?
Basically, over the next 3--6 months the trio will run a full feasibility study, building the strategy, business plan, and legal structure for a potential pan-African film fund.
Then, if all goes well (which it normally does), the custom-designed entity will get financed by IFC, AfDB, and other investors
By this time next year, there might be yet another African film fund on the scene.
STREAMING
Either way you look at it, that’s A LOT of new funding coming up for African content.
📺 And I will sound like a broken record again but… where is all this content going to go?
In Nigeria, it looks like Netflix and Amazon retreating shocked the industry into action: the country is getting not one, but two new streaming services.
First, Mo Abudu (possibly Africa’s hardest working woman in showbusiness - at least this month) is back in the game with EbonyLifeON+. Yes, a mouthful.
This is Abudu's second attempt at building a streaming service.
💥 Her first, launched in 2015 with French tech company Summview, targeted diaspora audiences but ultimately failed. The timing wasn't right: Nigeria's internet infrastructure was shaky, data costs were prohibitive, and the market simply wasn't ready.
🪦Fast-forward to 2025, and the streaming landscape in Nigeria looks like a graveyard.
IROKOtv, once Nigeria’s pride and joy, finally threw in the towel in 2023 after burning through $100 million. Jason Njoku's brutal post-mortem was clear: "streaming wasn't the right model for Nollywood in Nigeria."
Even Netflix broke when faced with the brutal Nigerian economics: the global streamer stopped commissioning new Nigerian originals last year.
⚖️ Both IROKOtv and Netflix came to the same conclusion: the economics simply don't add up when your costs are in dollars but your customers pay in a currency that's lost 70% of its value since 2023.
But here's where it gets interesting:
The very reason others are retreating might be what makes EbonyLifeON+ viable.
When your server costs, bandwidth, and content licensing are priced in USD, and your subscribers pay with an ever-weakening Naira (now at ₦1,535 to $1), the math breaks.
🏗 But IF EbonyLife can leverage local infrastructure - Nigerian payment processors like Interswitch, local data centers like MainOne, cloud services priced in Naira - it might give the new incarnation of its streaming service a lifeline.
Also, with 5,000+ hours of original programming, including hits like "Blood Sisters" and "The Wedding Party", EbonyLife is not starting from scratch.
The platform's community-based model (which will include masterclasses, podcasts, star hangouts and live events) might also be a differentiator and create other revenue streams.
But an investor I spoke to recently pointed to a potential weakness: it doesn’t appear that EbonyLifeON+ has a proper tech and product team separate from other EbonyLife businesses.
⚠️ If that’s true, it would prevent them from executing properly on the opportunity they’ve stumbled upon. And that’s not only a shame, it’s a strategic mistake.
Two other Nollywood titans, another take on the same business:
Inkblot Studios and FilmHouse group have partnered to launch their own streamer: Kava.
Leveraging the partners’ own, proven pipeline of top Nollywood movies, the platform will debut with 30+ premium titles. New films are then set to drop every week.
👨🏾🍳 Rather than the Netflix “all-you-can-eat” buffet, Kava’s inspiration is the gourmet experience offered by European streamer MUBI through its 30-film rotating catalogue that cinephiles swear by.
Kava is banking on its niche focus to control costs and on the diaspora audience to bring in the dollars.
Theoretically, a platform focused on fewer, high quality titles prized by the diaspora would not need a huge amount of subscribers to break even.
So, Kava has a chance as well.
Aaaaand, let’s not forget Circuits, ANOTHER Nigerian platform which quietly launched late last year but on a pay-per-view model, positioning itself as a virtual cinema more than a Netflix clone.
Will either of these approaches work? The streaming landscape is littered with well-funded attempts which ultimately failed. 👻👻👻
But sometimes the best time to enter a market is when everyone else is leaving -- if you can solve the problems they couldn't.
CREATOR ECONOMY
🤳Communique’s Oritsejolomi Otomewo published a great article last week about African creators building scalable product businesses.
You should read it in full of course (and subscribe to Communique). But here’s the gist:
47 % of African creators now earn more from their own digital products (ebooks, courses, memberships…) than from brand sponsorships. This number points to a fast-growing global playbook in which creators are morphing into founders.
🍫 This transition was pioneered a few years ago by US creator MrBeast, who started his entrepreneurial endeavors with his chocolate brand Feastables and now runs a diversified billion-dollar holding company.
Now, local proof-of-concepts are emerging.
For example: Nigeria’s Aproko Doctor, who has 6 million followers across social media, launched his tele-health startup Awadoc this year. The company is already serving 50,000 patients across 13 countries and is now raising pre-seed capital.
Built-in demand and ultra-low customer acquisition costs make creator-led startups an attractive proposition for investors, despite the key-person risk.
In my opinion, one of the most interesting developments in today’s creative industries.
WHAT’S UP AI
👽 The unstoppable march of AI in entertainment continues.
While Hollywood has been treating AI like a taboo subject since the 2023 strikes, Netflix just openly declared they're using it for actual production, and that they're happy with the results.
Netflix teamed up with producers to use AI to create a scene of a building collapsing in an Argentine show called "El Eternauta" ("The Eternaut").
Co-CEO Ted Sarandos said that using AI, the scene was finished 10x faster than it would have with traditional visual effect tools, and that it cost less.
In the same month, Amazon invested in Fable’s Showrunner, a platform where anyone can generate full animated episodes with a text prompt, remix existing worlds, and even earn ~40 % of downstream revenue when others build on their storylines.
The company’s hypothesis is that AI is not just a tool for cheaper special effects but represents a new entertainment medium, more akin to video games.
And to close this topic, a tidbit of news that went viral last week: according to a new report by Datareportal, Kenya ranked #1 globally in ChatGPT usage, with 42.1% of Kenyan internet users reporting having used the service in the past month.
Ranked immediately after Kenya are the UAE (42%) and Israel (41.4%), while leading economies like Japan (5.8%), China (7.3%) and Russia (10.8%) trailed far behind.
This new statistic confirms Kenya’s status as a country of early tech adopters. But the question many asked is this: consuming AI tools is one thing, but what about creating, producing, leveraging?
SPORTS BUSINESS
⚽️🌟 Jay-Z is bringing his golden touch to African football.
The “Business, Man”’s sports venture, Roc Nation Sports International (RNSI), just planted its flag firmly in African football, signing eight rising stars from six countries in one swoop.
This is the continuation and strengthening of a strategy started in 2021, when RNSI signed a consultancy deal with South Africa’s Mamelodi Sundowns.
⛏️ RNSI is certainly not the first foreign agency to attempt to mine Africa’s notoriously deep pool of raw football talents.
They, just like anyone else, will have to face a daunting set of challenges:
⚠️ The good ol’ Africa fragmentation that makes sourcing talent, negotiating deals, and moving people around at scale such an operational and legal nightmare.
⚠️ The inference of local politics in anything football, meaning that operating in that world involves bicycle-kicking over landmines at every step.
⚠️ The lack of professional pre-academies, which means that by the time a player is spotted in Africa, they are already 15-18 years old as opposed to 11-13 years old in Europe - and this makes a huge difference in a footballing career
⚠️ And always, the lack of general infrastructure, both physical and immaterial, which makes progress much slower and much more expensive.
But RNSI does have the brand power, marketing know-how, entertainment synergies, and cash to make a dent.
We’ll be following closely.
INVESTMENT NEWS
💼 This partnership was actually announced last year, but the news went completely unnoticed then.
It is now confirmed: IFC (World Bank Group) and Proparco have invested a joint $50M in Helios Sports and Entertainment Group (HSEG).
HSEG, which ultimately aims to raise $75M, plans to deepen its strategy to invest in media rights, sports IP, live events, and physical infrastructure.
HSEG already owns a stake in NBA Africa, which valued the league’s Africa division at $1 billion, the Professional Fighters League (PFL) Africa, The Malachite Group (owners of the AfroNation brand), and mixed-used infrastructure developer Zaria Group, co-founded with Toronto Raptors President Masai Ujiri.
This is the kind of signal, and the type of projects, that turn investing in the Creative and Sports space from a niche and risky edge-case to an attractive mainstream proposition. Now watch the FOMO spread in the ecosystem.
✍🏾 In another investment news, Afreximbank’s CANEX Creations (the same war-chest that’s touting $2 billion to bankroll Africa’s creative economy) has signed its first deal:
C.R.E.A.M. is sitting on 7 million subscribers, 10,000+ content submissions and has already written cheques or given exposure to 38,000 creatives across Nigeria.
It’s secret sauce is USSD (*463#) access on MTN, another reminder (from me being a broken record again) that distribution is the real moat.
Despite being in the midst of what is probably its biggest social movement since independence, Kenya is attracting the attention of global entertainment players.
In fact, Kenya just pulled off a three-pointer that would make Steph Curry jealous. In the span of twelve months:
🏆 The Recording Academy (owner of the Grammys) has picked Nairobi for its first Pan-African hub.
🎬 During the U.S.-Kenya Creative Economy Forum held in June, Tyler Perry Studios and the NBA Africa spearheaded a $93 million investment commitment to increase Kenya’s creative sector contribution to GDP from 5% to 10%.
⛹🏾 NBA Africa is also planning to build 100 basketball courts across Kenya over the next decade.
And here’s the part that is less visible: the bankers are now joining the party.
Stanbic Bank Kenya is raising a $100 million Catalytic Fund, with the creative economy on the ticket, while Equity Bank has already written a $194,000 cheque to the Kenya Music Festival and is looking at more ways to support the creative sector.
Kenya’s next creative season is looking good.
CREATIVE SUCCESS STORIES
🌟 And to wrap up, in July I profiled 3 more companies out of the 12 success stories featured in my Proparco CREA Fund study. If you missed them, you can find them here:
Mundo: How Africa’s First Music Streaming IPO Started with a Very Wrong Business Model
ROK Studios: How a Content Crisis Built Nigeria’s Largest Film Factory
Triggerfish: How 5 Partners transformed a Failing Studio into Disney’s Go-to Animation Company
Coming up next week: Vivo Fashion Group, East Africa’s H&M with $9 million in annual revenue (!).