LAGOS, Nigeria: A glamor blogger, a filmmaker and a tech mogul are competing to create a homegrown African rival to Netflix, but poor Internet connections and intense competition are proving daunting obstacles.
They dream of popularizing access to films made in Nigeria, which is home to the world’s second biggest movie industry in terms of production behind Hindi-language Bollywood.
With nearly $4 billion in revenue and almost 2,000 productions every year, films made in what is known as Nollywood are largely sold on the streets and to idling motorists caught in traffic as pirated copies for just a few dollars.
Local start-ups and Nollywood stars understand the interest in changing the distribution of films that are hugely popular across Africa, where cinemas are few and far between.
With such a huge potential market, video-on-demand platforms have sprung up in Lagos, Nigeria’s commercial capital and home to the country’s film industry.
And competition is already fierce.
Blogger Linda Ikeji — one of Nigeria’s biggest names on social networks — recently launched Linda Ikeji TV (LITV) to great fanfare.
It offers dozens of films, series and programs inspired by US shows but with a Nollywood twist for a monthly fee of 1,000 naira ($2.80).
“We are hoping to be to Africa what Netflix is to the world,” Ikeji wrote on her Instagram page, which has some two million followers.
She promised glamor, sass and humor, particularly with reality shows such as “Football Wives” or “Highway Girls of Eko,” “a show on real-life prostitutes” in Lagos.
The 37-year-old former model-turned-businesswoman made her fortune through advertising revenue on her site, which tracked the lives of Nigeria’s rich and famous.
She said she had invested “half-a-billion naira” of capital in the project. As well as buying video, she is also making original content from her own studios in Lagos.
Before the end of the year, Nigerian company Envivo is expected to launch its own platform with an initial investment of more than $20 million, said filmmaker Chioma Ude, who is the firm’s marketing director.
“(US telecoms giant) Cisco wants a big footprint in Africa, and as our technical partner, they will provide all the technology, from the network to the video compressions, etc.,” the founder of the Africa International Film Festival said.
A viable economic model for the promoters of Nollywood online still needs to be found, given the lack of widespread high-speed Internet coverage.
Only 34 percent of Africans have Internet access compared with more than 50 percent in the rest of the world, according to the 2018 Global Digital report.
But Africa showed the biggest progression in Internet users last year, especially through mobile telephones.
Serge Noukoue, organizer of the annual Nollywood Week in Paris, said price was everything and the African consumer wanted to pay “as little as possible” to watch a film.
“Even iROKOtv, the pioneer on the continent, doesn’t really make a profit,” he said.
“They have had a lot of success in fundraising but what subscribers actually bring in is less conclusive.”
Jason Njoku founded iROKOtv in 2010 but said he made a mistake to count on streaming from the start. “It simply couldn’t work,” he explained.
“Data costs were prohibitive, as is access to reliable broadband across huge swathes of the continent. Our customer service team was inundated with queries.
“We totally rebuilt our product and rebuilt our entire company around the African consumer and their habits.”
That led to an application that ate less data and which allows free mobile downloads of video files.
There is original content, while films have also been subtitled in French, Swahili and Zulu to make them more accessible to other African countries.
Competitors have emerged elsewhere in Africa in recent years, including Kenya’s BuniTV ($5-a-month) or South Africa’s Magic Go ($8-a-month).
“If these online platforms don’t make money yet they’re a bet on the future for when connections are better,” said Noukoue.
“A lot of projects have been created but there will not be room for everyone in the market in the long term. Competition will be fierce.”
Giants of the sector such as Netflix, which in 2016 launched in Africa, could outshine the continent’s video-on-demand pioneers in years to come.
“Netflix doesn’t yet have a real Africa strategy but it’s started to produce original African content. That will be a gamechanger.
“It has considerable means at its disposal that the others don’t have.”
Nigeria sees a rush to get Nollywood online
Nigeria sees a rush to get Nollywood online
- Nollywood is home to the world’s second biggest movie industry in terms of production behind Hindi-language Bollywood.
- A viable economic model for the promoters of Nollywood online still needs to be found, given the lack of widespread high-speed Internet coverage
Georgina Rodriguez steals the spotlight at Dubai event
DUBAI: Argentine model Georgina Rodriguez made a head-turning appearance this week at the Globe Soccer Dubai Awards 2024, held as part of the Dubai International Sports Conference 2024.
She attended the event alongside her longtime partner, Cristiano Ronaldo, who was honored with two awards: Best Middle East Player 2024 and All-Time Top Goal Scorer.
Rodriguez turned heads in a fitted black dress featuring a sweetheart neckline and lace-detailed sleeves. She completed her look with black pointed-toe heels and carried a matching black purse.
The couple was joined by Ronaldo’s eldest son, Cristiano Jr., making it a family affair at one of the year’s most celebrated sports events.
Upon accepting the award, Ronaldo, who plays for Saudi Arabia’s Al-Nassr FC, expressed his gratitude on stage, saying: “For me, it is a big pleasure to win this trophy. It is very different than the other ones. It is a pleasure to be in this gala. (There are) a lot of champions here, young generations and old generations.”
He continued: “I have to say thank you to my own family, my kids. They are all here in Dubai. My oldest son is there. My wife is here. She’s my lovely support all the time to carry on to play. In one month I’m gonna be 40 years old but I’m not finished yet. I will continue because I want to win titles, I want to be a champion.”
After the event, Ronaldo shared pictures with his 646 million Instagram followers, captioning the post: “A great way to end the year. Thank you to my teammates, staff, to everyone who has supported me along the way, and especially to my family. There is still more to come.”
The couple were later spotted at Nobu Dubai in Atlantis the Palm, where there was also Brazilian football player Neymar and former Italian footballer Alessandro Del Piero.
Rodriguez and Ronaldo traveled to Dubai following their family vacation in Lapland, Finland, where they celebrated the festive season.
The couple shared glimpses of their activities on Instagram, including an in-house dinner with their children, sledding adventures, ice baths and more, giving fans a peek into their holiday moments.
Mohammed Al-Saleem: Saudi Arabia’s best-selling artist dominates art auctions
- Al-Saleem’s works fetched the highest prices for Saudi artists at both Christies and Sotheby’s this year
DUBAI: The late Mohammed Al-Saleem was once again the Kingdom’s stand-out performer at art auctions this year, topping the price list for a single work by a Saudi artist at both Christie’s and Sotheby’s.
He didn’t quite match the record-breaking levels of the 1986 piece sold by Sotheby’s last year, which made him the first Saudi artist in history to fetch more than $1 million for an auctioned work, but this year Al-Saleem’s 1990 work “Bi nur al-iman, nara al-s'adah” (In the light of faith, we see happiness) realized well over twice its highest estimated price for Christie’s, eventually selling for £630,000 (around $788,285), while, at Sotheby’s, an untitled Al-Saleem piece from 1960 went for £84,000.
Seen together, the two pieces clearly demonstrate Al-Saleem’s evolution as an artist over the three decades separating the pieces. But the earlier piece also shows just how well-defined Al-Saleem’s aesthetic sense was even at the start of his artistic journey.
As Sotheby’s head of sale for 20th Century Art/Middle East, Alexandra Roy, says of the untitled painting, “It’s a work that’s finding its own language. And they you see him really evolve, which I think is always a sign of a great artist — they really find their own language that you can recognize immediately. Even if you only know his later works, you can immediately infer that this was done by Mohammed Al-Saleem.
“You can see he is starting to think a lot about the visual culture around him,” she continues. “And what I love is that he is super-interested in the landscape around him, abstract art, calligraphy, the Qu’ran… and this work combines a bit of all of that: it has the abstract, the calligraphy, and that important element of the landscape around him with the figures in the painting, which are actually camels.
“It’s actually super-rare to find a work from the 1960s and really amazing to see the development — how he goes on from this,” she continues. “There’s something traditional and yet very avant-garde about this work. For me, it looks like an Arab flag. So, immediately, my associations go to those early pan-Arab artistic movements. It’s also very textured — he’s really creating something with depth and movement. And visually it has all of these elements which kind of harken back to the Islamic world, to Saudi Arabia’s landscape, to popular motifs, but done in a very original way.”
Ridah Moumni, Christie’s chairman, Middle East and Africa, also stresses the fact that Al-Saleem had a very clear aesthetic identity — one which, by the time he came to paint “Bi nur al-iman, nara al-s'adah” — had become clearly defined.
“It’s more than the technique. It’s really the composition,” Moumni says. “He creates very abstract layers of colors, in which we see a sort of geometry that we can sometimes identify as human forms, or calligraphy, or animal forms. It’s very interesting. Sometimes people would say this is a Saudi style — I don’t think it is; it’s the style of Mohammed Al-Saleem. He’s an excellent painter in the way he uses the colors to create these abstractions.”
This particular work is unusual in the way that Al-Saleem used a painted frame to divide the canvas into quarters.
“This is a really special work. You won’t see two of them. It’s a rare composition and I think the collectors who saw this work saw its exceptional quality,” says Moumni. “I find this piece extremely beautiful. I love it because it’s an abstract piece, with spectacular composition, but it’s also a piece that is absolutely optimistic and shows extraordinary creativity. In the Nineties, the artist was really struggling financially. Then he paints this beautiful message — ‘In the light of faith, we see happiness.’
“I think the Arab world is full of talent, of resilience, of creativity, of richness. And I think the artists of the Arab world have so much to give, not only regionally, but also from a global perspective,” he continues. “So when I see this work, I see also the optimism and the generosity of the art scenes of the region. The Arab world has so much to give, and we have so much to learn from its artists.”
Mytheresa CEO on personalization, culture, Saudi Arabia’s luxury boom
DUBAI: As Saudi Arabia cements its position as a global centre for luxury, the Kingdom’s burgeoning fashion market is capturing the attention of high-end retailers worldwide.
Mytheresa, one of the leading luxury e-commerce platforms, is at the forefront of this shift, catering to a growing and increasingly discerning Saudi clientele.
Michael Kliger, CEO of Mytheresa, revealed how the brand is evolving alongside the Kingdom’s dynamic landscape, with a focus on personalization and cultural connection.
“We’re witnessing incredible changes in the Saudi market,” Kliger said. “More Saudis are staying in the region, with some even moving back permanently, which has created a significant increase in local demand for luxury fashion.
“Events like weddings and receptions have always been important here, but now, with cinemas and fine dining experiences becoming more common, there are even more occasions for people to dress up.”
While Mytheresa does not yet have a physical presence in Saudi Arabia, its strategy focuses on creating meaningful connections with local clients.
“We host a variety of events to engage directly with our Saudi customers,” Kliger said. “Recently, we had a dinner at Hia Hub in Riyadh with the designers of Oscar de la Renta, and in Jeddah, one of our clients hosted 100 of her friends for us at a hotel. These gatherings, along with style suites where customers can try curated collections, allow us to bring the Mytheresa experience to them in a personal and exclusive way.”
Additionally, the e-tailer frequently collaborates with local creatives to create authentic connections with their customers. Kliger said that understanding the timing of local events and traditions, such as Ramadan and other festive gatherings, is essential. He highlighted the importance of working with local influencers and ambassadors to ensure the brand’s messaging feels genuine and accessible, making it easier for Saudi customers to engage with Mytheresa.
Personalization too, is at the heart of Mytheresa’s approach. “It’s not about catering to a ‘Saudi style,’ but understanding each individual client,” Kliger said. “For example, one of our clients in Riyadh loves Yamamoto and Sacai. It’s about identifying those preferences and curating options that resonate with their personal taste. That’s what makes our service unique.”
Kliger also touched on the recent acquisition of Net-a-Porter by Mytheresa’s parent company, YNAP, and its implications for the Saudi market.
“Net-a-Porter complements what we do at Mytheresa,” he said. “They’re strong in discovery and editorial, while we focus on highly curated, established luxury brands. Together, we can cater to different corners of the luxury market without diluting our individual strengths.”
As Saudi Arabia’s young, tech-savvy population drives the growth of e-commerce, Kliger emphasized the importance of adapting to the Kingdom’s digital preferences. “Social media usage here is unique, with platforms like TikTok and Snapchat playing a major role in how people interact and shop. Understanding these behaviors is key to connecting with this market,” he said.
With a focus on personalization, community engagement, and digital strategy, Mytheresa is poised to strengthen its position in Saudi Arabia’s thriving luxury landscape. “The Saudi market is one of the most dynamic regions for us,” Kliger said.
Sound judgement: The best Arab alternative albums of 2024
- Bojan Preradovic’s pick of records released by indie artists from the Arab world this year
Tayar
‘Kol Shi Sar’
Tayar consists of Amman-based songwriters Ahmad Farah and Bader Helalat, who is also a producer and filmmaker. Since 2020, the pair have released a string of singles and EPs, often using their music as a means of processing life in a region immersed in grave injustice and trauma. Their first LP is a genre-defying record that oscillates effortlessly between indie rock, earworm electronica, and delectable, quartertone-laced neo-psychedelia. Between gorgeous, piano-driven interludes, Farah and Helalat snake their way through a sonic canvas of exquisite vocal harmonies, irresistibly danceable beats, synth-soaked laments, and lusciously arranged instrumentals narrated by the likes of double bass, oud, and trumpet.
Fulana
‘ground:from — Chapter One’
Vancouver-born, Jeddah-raised artist Nadine Lingawi’s evolution as a songwriter since signing with Saudi Arabia’s Wall of Sound in 2020 has been remarkable, culminating in this month’s ‘ground:from,’ an enlightened exploration of brooding indie pop and instantly iconic electronica. Collaborating with Abdulmajeed Alwazna and Husam Al-Sayed — Saudi duo Input/Output — Lingawi employs her lyrical prowess to convey deep, existential ruminations on themes such as death and rebirth. While watery, delay-drenched guitars drive tracks such as opener ‘the burn’ and ‘decompose’, and memorable synth melodies are an indelible feature of ‘letter #9’ and ‘marigold’, it’s Lingawi’s soulful vocal delivery and tasteful harmonies that power the album’s allure. An immensely talented up-and-comer to watch out for.
Tamara Qaddoumi
‘Sorry Signal’
The Kuwaiti-born singer-songwriter moves on from her dalliance with trip-hop into the glacial embrace of profound, reliably infectious cold pop. “Sorry Signal” sees Qaddoumi bristle with brilliance, as she reflects on lost innocence and the insidious, shape-shifting nature of grief. From the crystalline harmonies elegantly wrapped around disquieting introspections of “Cold In The Mourning” to the heaving torrents of synths and rhythmic beats of the title track, Qaddoumi weaves the threads of seemingly insurmountable desolation into a compellingly hopeful requiem that looks to a brighter tomorrow.
Hello Psychaleppo
‘Cipher’
The Syrian producer, songwriter, and multi-instrumentalist Samer Eldahr has audaciously pushed the boundaries of the very foundation of traditional Arabic music for the past decade. With his third LP, he has fully alchemized his own brand of electro-tarab, sharpening any rough edges into a well-rounded, unmistakably unique sound. The album features illustrious guest appearances, including former Mashrou’ Leila frontman Hamed Sinno, and DJ, producer, and singer Anas Maghrebi (formerly of Khebez Dawle), whose vocals grace the feverish beats and synths of the album opener, “Katha Altawq.” “Cipher” is a towering addition to Hello Psychaleppo’s already impressive catalogue.
Snakeskin
‘They Kept Our Photographs’
Julia Sabra — frontwoman of Lebanese dream-pop outfit Postcards — has a long history with producer Fadi Tabbal — who has shepherded countless indie artists in his Beirut-based Tunefork Studios. Their sophomore album as Snakeskin perfects the distinctive formula of Sabra’s ethereal, instantly recognizable vocals and Tabbal’s visionary production and electronic experimentation. The pair are at their most imperious on tracks like “Bodies,” which rattles off a machine-gun beat as a scene-setter for Sabra, who vocalizes with both fragility and poise to the aqueous, hypnotic soundscapes of synths engineered by Tabbal. This is a mournful, beautiful record, to be listened to with headphones in the twilight of a dying day, or just before the dawn of a new one.
Garwasha
‘Garwasha’
Saudi Arabia isn’t known for its jazz, but Riyadh-based, alternative fusion band Garwasha aim to change that with their debut album — a dexterous combo of jazz, rock, and experimental instrumentation, with nods to elements of traditional Arabic music. The LP is brimming with musicianship, as the four-piece storm through vibrant, frequently playful tracks. The eight-minute “Consolacao” is a mélange of jazzy progressions, funky breakdowns, and showcases of virtuosity. Meanwhile, song titles such as “Dancing Delicately Along the Dichotomies of Reverse Orientalism” follow a curious naming convention often deployed by post-rock bands that, like Garwasha, communicate their message effectively solely through the strength of their music.
Seera
‘Al Mojallad Al Awal’
All-female Saudi foursome Seera’s debut LP is an amalgam of psychedelic and indie rock that employs nuances of traditional Arabic music, stylishly ornamented by cathartic guitar parts, keyboard passages reminiscent of The Doors and the artistic exuberance of the late Sixties, and tinges of everything from blues to electronica. With an anonymous drummer who goes only by ‘Thing’ and wears a mask symbolizing Saudi heritage, Seera’s rise embodies the ongoing cultural change within the Kingdom, the blossoming spirit of creative freedom, and female empowerment.
In Bollywood-obsessed India, art-house film wins accolades, audiences
- Audiences in India are raised on a staple diet of Bollywood and other mainstream films, complete with song-and-dance routines, violence and melodrama
- With more than $2 million in box office sales globally, ‘All We Imagine as Light’ also has entries to the Academy Awards for best picture and best director
MUMBAI: Indian cinema is best known for Bollywood extravaganzas, but an art-house film about three women navigating loneliness and love in a metropolis is gaining viewers and earning international recognition, including nominations to the Golden Globe awards.
“All We Imagine as Light,” a multi-language film set in Mumbai, the country’s financial capital, has won several international awards this year, including the Grand Prix at Cannes, and is the first Indian film to be nominated in the Best Director category at the Golden Globes, which will be presented on Jan. 5.
It has also been nominated in the Best Picture category for non-English movies.
For director Payal Kapadia, the response to her debut film in her home country is an added bonus to the accolades it has earned abroad.
“It’s very difficult for independent films to get screens in India. I am very happy with the response. Now, I want to show the film in places in the country where it has not been shown so far, the smaller cities,” Kapadia told Reuters in an interview.
Independent, art-house films don’t find too many takers in India, where audiences are raised on a staple diet of Bollywood and other mainstream films, complete with song-and-dance routines, violence and melodrama, although more serious content on streaming platforms is slowly changing tastes.
With more than $2 million in box office sales globally, “All We Imagine as Light” also has entries to the Academy Awards for best picture, best director and best original screenplay, said a representative from Sideshow and Janus Films, which own the distribution rights in the US
But it was not India’s official submission to the Best Foreign Film category at the Oscars.
Kapadia, 38, said she thought of the idea of the film in a hospital waiting room. Initially conceived as a short film, it took eight years to make.
Former US President Barack Obama picked it as one of his favorite films of the year, in a list he shared on social media.
The story revolves around the friendship and love lives of three immigrant women who live and work in Mumbai, the congested metropolis of more than 12 million people, an important leitmotif in her film.
“Mumbai is a city of many contradictions. While life can be tough here, it gives people a sense of freedom as well. We tried capturing that in the film too,” Kapadia said.
