New Cuban Film Seeks to Revive Sector

Since Cuba’s 1959 revolution, the country’s film sector has largely survived on the largesse of the state. The switch to Communism as the guiding economic model of the country after the revolution led, at first, to generous support to filmmakers. The government ranked cinema ahead of television seeing both cinema and television as the two most important forms of artistic expression in the country. But as state funding has dwindled in recent years, adventurous independent filmmakers have tried to keep the Cuban film tradition going using other sources.

Prior to the revolution, Cuban cinema had been dominated by American and Mexican companies that used Cuba as an exotic backdrop for their productions and dominated the distribution of film in the country.

In the 17 years after the 1959 revolution, generous funding for filmmaking in Cuba produced 74 full-length films and 600 documentary shorts (Julianne Burton: Revolutionary Cuban Cinema). Soon Cuba had established a reputation for making its own, interesting, high-quality films. These range from “Memories of Underdevelopment” (http://en.wikipedia.org/wiki/Memories_of_Underdevelopment) released in 1968, with its innovative narrative technique, to Academy Award-nominated “Strawberry and Chocolate” in 1993 and 2006’s “Tomorrow” (http://www.cubaabsolutely.com/articles/art/article_art.php?landa=23).

But funding for Cuban film has been dropping since the ending of generous state supports with the collapse of the Soviet Union in 1991. Cuba had received extensive subsidies from the Soviet Union and enjoyed preferential trading privileges.

But a new Cuban film is grabbing fistfuls of international accolades and shows it is possible to make films with a combination of foreign investment and state support.

The zombie horror-comedy “Juan of the Dead” (juanofthedeadmovie.com/lang/en/) has raised more than a few eyebrows but it is also showing a more commercial instinct among Cuban filmmakers and points the way to greater diversity in Cuba’s film sector.

The film’s poster declares: “50 years after the Cuban revolution a new one is about to start.” The film’s website is a colourful feast of images from the film and uses slick graphic design. It has previews, background resources and online clips for viewers to sample.

Calling itself a “zombie comedy”, the film was written and directed by Alejandro Brugués and produced by Gervasio Iglesias, Inti Herrera and Claudia Calviño.

The plot revolves around Juan, a 40-year-old man who has spent most of his life doing nothing. He and his lazy pal Lazaro witness people starting to attack each other. Mistaking this for another stage in Cuba’s revolution, the pair at first believe the government media when it says the incidents are provoked by dissidents paid by the U.S. government. But it begins to dawn on the two men they are surrounded by zombies. Taking a Cuban approach to the problem, Juan decides to get rid of the zombies while making some money at it.

“Cubans have basically three ways of dealing with problems: they try to make a business out of it, they get used to it and keep going with their lives; or they throw themselves to the sea to run away from the island,” Brugués says on the movie’s website. “‘Juan’ gave me the opportunity to make things really difficult for Cubans, filling the country with zombies, which is in a way what we have become after all these years, but also gave me a leading character that could take a different option, that could stand and say ‘I’m not going to allow this, this is my country, I love it and will stay to defend it’ … after trying to make a business out of it and keep going with his life, of course.”

The film has received enthusiastic praise from international film festivals and audiences, and its producers are hoping it will give a boost to Cuban cinema.

Released in 2011 as a joint Spanish/Cuban co-production, “Juan of the Dead” was filmed on location in Cuba’s capital, Havana. The country’s first feature length horror film in half a century, its title is a play on George Romero’s 1978 zombie classic “Dawn of the Dead”, which also inspired the successful 2004 British comedy “Shaun of the Dead”.

It cost US $2.7 million, and the funds were raised from Spanish investors and the Cuban Institute on Cinematographic Industry and Arts (ICAIC) (http://www.cubarte.cult.cu/paginas/servicios/directorio/directorio.php?id_institucion=77&selected=&offset=36&windowstart=1&letra=&canal).

Brugués was born in Buenos Aires, Argentina in 1976 and graduated from the International Film and Television School of San Antonio de los Baños, Cuba.

He built up his expertise in the Cuban film industry as a scriptwriter for several Cuban films and is one of the partners at the Cuban indie film production company Producciones La 5ta Avenida (http://eses.facebook.com/pages/Producciones-de-la-5ta-Avenida/110339122340016).

His first feature film was “Personal Belongings”, which received worldwide distribution.

“I have been a follower of the zombie movies since I was a little kid (zombie movies have followers, not fans),” Brugués said. “The idea of ‘Juan’ simply came from watching the reality around me. That reality is Cuba, so one day inevitably, I was asking myself if we were so different from film zombies. Besides that, Cuba is a country that has been preparing itself for a confrontation with the United States during the last 50 years. So, what if instead of that, have to confront zombies?”

Brugués sees a coming together of independent filmmakers and state-funded filmmakers in the future: “At the moment there are two trends, films produced by Cuba’s state production company and films made outside of that,” he told the BBC.

“There needs to be a balance but I think the two will eventually merge. When this happens I think this will produce the best Cuban cinema.”

By David South, Development Challenges, South-South Solutions

Published: March 2012

Development Challenges, South-South Solutions was launched as an e-newsletter in 2006 by UNDP's South-South Cooperation Unit (now the United Nations Office for South-South Cooperation) based in New York, USA. It led on profiling the rise of the global South as an economic powerhouse and was one of the first regular publications to champion the global South's innovators, entrepreneurs, and pioneers. It tracked the key trends that are now so profoundly reshaping how development is seen and done. This includes the rapid take-up of mobile phones and information technology in the global South (as profiled in the first issue of magazine Southern Innovator), the move to becoming a majority urban world, a growing global innovator culture, and the plethora of solutions being developed in the global South to tackle its problems and improve living conditions and boost human development. The success of the e-newsletter led to the launch of the magazine Southern Innovator.  

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Venture Capital Surge in Africa to Help Businesses

Africa’s potential economic powerhouse lies in its small and medium enterprises (SMEs). Foreign direct investment (FDI) into Africa ebbs and flows based on the state of the global economy – and most of it is directed towards large enterprises and multinational companies.

Finding ways to support grassroots SMEs has the potential to truly build in sustainable prosperity for the continent and construct stable middle class jobs.

But building a continent-wide network of investors, and directing that investment at the grassroots business entrepreneurs who employ the majority of Africans, is not easy.

Foreign direct investment to Africa rose fivefold from 2000, peaking at US $72 billion in 2008 (African Economic Outlook). A surge in raw material prices fed this boom. FDI is, however, unevenly distributed and much of it goes to extractive industries like mining and oil and gas in a handful of countries. When the global economic crisis hit, FDI inflows to African countries fell by 20 per cent, to US $59 billion in 2009.

Venture Capital for Africa: Connecting Entrepreneurs and Investors (http://vc4africa.biz), is a free service trying to nurture the SME sector and help entrepreneurs overcome the challenges of funding start-ups in Africa. Members are expected to contribute, collaborate and show their seriousness, bringing resources or their ideas and enthusiasm.

It has a detailed website with a mix of resources available. People can register and connect with others, check out venture ideas and the most popular ones in the past day to month, read about featured entrepreneurs, register as an investor looking for investees, and meet-up with others in their city. This includes expatriate communities in places like Oslo, Norway.

VC4Africa believes its mission is to champion entrepreneurship, and particularly SMEs, as the main driver of Africa’s economic growth. These businesses provide the majority of the continent’s employment and income. And as it says on its website, they offer “hope for a better future.” It is estimated SMEs contribute two thirds of national income for many African countries and are a major source of middle class jobs.

VC4Africa believes “that the most meaningful impact will still come from grass roots level i.e. entrepreneurs bold enough to start potentially great companies. It aims to connect these individuals with the additional network,knowledge and capital they need to realize their potential.”

VC4Africa started from a group on the social media and connecting platform Linkedin in 2008. It claims to be the largest online community “dedicated to entrepreneurs and investors building companies on the continent.” It is a free service and was founded by “serial entrepreneurs” Bill Zimmerman, formerly of Microsoft in the USA, and Ben White, founding member of AfriLabs (afrilabs.com), a network of technology incubators. Both have extensive experience founding and investing in technology initiatives in Africa.

VC4Africa is sponsored by a long list of well-known names in supporting African entrepreneurs: Acumen Fund (acumenfund.org), Afribiz (afribiz.info), AfricaNews.com, How We Made It In Africa.com, iHub Nairobi (ihub.co.ke), and others.

Consulting firm McKinsey (mckinsey.com) believes Africa’s more than 1 billion citizens should be seen as consumers and says the continent’s growing number of middle-income consumers now outstrips India’s. It boldly claims consumer spending will reach US $1.4 trillion in Africa by 2020, up from US $860 billion in 2008. Ventures that target these consumers could do very well indeed.

The future is looking good for the venture capital model if VC4Africa continues with its successes. Two of VC4Africa’s ventures – BongoLive and Njorku – were hailed by Forbes Africa magazine in February 2012 as top start-ups in Africa.

Founded in 2010, BongoLive is a mobile and SMS services company in Tanzania. Njorku, founded in 2011, is a Cameroonian career and recruitment services platform focused on Africa.

A long and impressive list of African ventures is being supported by the VC4Africa network. Not all will succeed, and they are in very different stages of development, from embryonic to established. The failure rate for start-ups anywhere is always high. But this doesn’t have to be a bad thing. What tends to happen from experience in other countries is this: a buzz is generated as like-minded people gather around a tech scene. They feed off each others’ideas and when one idea dies, it is often feasted on – like a lion on a wildebeest – and becomes the meal for another start-up. Or, the idea is taken on board by a more established outfit.

The dynamic around tech start-ups can seem strange to more traditional business cultures. Tech start-ups tend to be more forgiving of failure and more willing to see all their labour as part of a bigger thing. It is accepted that some ideas will fly, and others will die. It is not a culture heavily laden with the shame that can be associated with more traditional business failures.

Some of the ventures supported by VC4Africa include:

MXit – Founded in 2003, MXit was one of the first Mobile Instant messaging services in the world and in Africa, and has a user base of about 45 million. (South Africa)

Dropifi – Founded in 2011, Dropifi helps businesses better respond to incoming messages via their websites, and also includes analytics for website owners. (Ghana)

FloCash – Founded in 2010, FloCash allows anyone with an email address and mobile number to send and receive money across Africa simply and easily. (UK)

Bandeka – Founded in 2011, Bandeka is an exclusive social network for building relationships/dating. (Ghana and Nigeria)

Motribe – Founded in 2011, Motribe is a mobile platform enabling users, brands, agencies and publishers across the world to build and manage their own mobile social communities. (South Africa)

Hummba – Founded in 2011, Hummba is a social and travel networking website that lets users download free audio travel guides and share travel experiences directly from mobile phones.

10Layer – Founded in 2011, 10Layer is a CMS (content management) system targeted specifically at newsrooms. (South Africa)

By David South, Development Challenges, South-South Solutions

Published: February 2012

Development Challenges, South-South Solutions was launched as an e-newsletter in 2006 by UNDP's South-South Cooperation Unit (now the United Nations Office for South-South Cooperation) based in New York, USA. It led on profiling the rise of the global South as an economic powerhouse and was one of the first regular publications to champion the global South's innovators, entrepreneurs, and pioneers. It tracked the key trends that are now so profoundly reshaping how development is seen and done. This includes the rapid take-up of mobile phones and information technology in the global South (as profiled in the first issue of magazine Southern Innovator), the move to becoming a majority urban world, a growing global innovator culture, and the plethora of solutions being developed in the global South to tackle its problems and improve living conditions and boost human development. The success of the e-newsletter led to the launch of the magazine Southern Innovator.  

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Business Leads on Tackling Violence in Mexican City

The damaging affects of crime and violence can ruin a city. They act as a drag on efforts to increase wealth and improve living conditions, and a city that gets a bad reputation, especially in the age of the Internet, will lose investment opportunities.

The North American nation of Mexico has been struggling against drug and gang-related violence that has left an estimated 47,000 people dead over the past five years. It is a casualty rate worthy of a war.

In Monterrey, the capital of Nuevo Leon state (http://en.wikipedia.org/wiki/Nuevo_Le%C3%B3n), an innovative initiative has brought together local businesses to tackle the root causes of violence and crime. The initiative – called Red SumaRSE, which means ‘joining a network’ – was born from anger and disgust at the situation in the city. And it was ignited by a prominent member of the business community expressing this frustration on the social media outlet Twitter (twitter.com).

The chief executive of the Cemex cement company had had enough one day. Lorenzo Zambrano tweeted a blunt message to other companies in the city: “He who leaves Monterrey is a coward.” It was to be a rallying cry for the campaign to take back the city from the violent gangs.

Monterrey is embroiled in violent drug-related gang crime. Just one incident shows how bad the situation had become. In August 2011 members of the Zetas drug gang torched a casino over a dispute over non-payment of extortion money, killing 52 people.

Law enforcement measures can often only go so far to curb violence in a community. Little impact can be made without addressing the underlying economic causes of much of the violence – poor employment opportunities, drug turf wars between rival gangs, economic instability and more.

“Violence is an expression of social inequality,” Zambrano told The New York Times.

Tragedies like the casino fire provoked the city’s business community to take action. Private companies in the city have stepped up to design and fund a recruitment campaign for the police force and are paying part of the cost for government-backed community redevelopment plans.

Corporate philanthropy in Mexico has a history of being very limited. Apart from distribution of gifts at holiday time,there was little else. But this is changing, with Red SumaRSE showing the way.

“In the last five or 10 years there has been progress both in terms of the quantity of the money and the quality,” Michael Layton, director of the Philanthropy and Civil Society Project at the Autonomous Technological Institute of Mexico, told The New York Times. “But I don’t think Mexico has caught up to Brazil and other countries where the business sector has taken corporate philanthropy to heart.”

The Red SumaRSE alliance of Monterrey’s companies is directing support to non-governmental organizations working on community development. Examples include telephone company Axtel and the tortilla maker Gruma (gruma.com/vEsp) taking charge of 20 other companies to invest in schools, building up infrastructure and reversing drop-out rates.

The Oxxo company (oxxo.com/index.php), Mexico and Latin America’s largest chain store, has started to work at improving conditions in the neighbourhood immediately behind its headquarters. The company is working on building parks, increasing job opportunities and finding ways to prevent teenagers from joining gangs in the first place.

Cemex has also opened a new community centre in a violent neighbourhood where shootings were a regular occurrence. It was based on some Latin American knowledge sharing: inspired by the case of the Colombian city of Medellin, where libraries were strategically located in violent slum areas.

And there is more good work in the pipeline. The business community has drawn up a list of 70 neighbourhoods in the city needing re-development.

Red SumaRSE has not been without its critics. They have attacked the focus on security, education and victims while ignoring corruption, which many believe is the source of many of the city’s problems.

By David South, Development Challenges, South-South Solutions

Published: February 2012

Development Challenges, South-South Solutions was launched as an e-newsletter in 2006 by UNDP's South-South Cooperation Unit (now the United Nations Office for South-South Cooperation) based in New York, USA. It led on profiling the rise of the global South as an economic powerhouse and was one of the first regular publications to champion the global South's innovators, entrepreneurs, and pioneers. It tracked the key trends that are now so profoundly reshaping how development is seen and done. This includes the rapid take-up of mobile phones and information technology in the global South (as profiled in the first issue of magazine Southern Innovator), the move to becoming a majority urban world, a growing global innovator culture, and the plethora of solutions being developed in the global South to tackle its problems and improve living conditions and boost human development. The success of the e-newsletter led to the launch of the magazine Southern Innovator.  

Follow @SouthSouth1

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Indian City Slum Areas Become Newly Desirable Places to Live

 

With India’s urban economy experiencing rapid growth, its slums – once seen as the most undesirable places to live in the country, if not on Earth – are attracting the attention of affluent residents and developers inIndia’s rapidly expanding cities. The prosperity inIndia’s cities has made these areas’ proximity to business and entertainment zones highly desirable. In turn, this has led to slum dwellers either upgrading their homes and in the process boosting their value, or being offered the opportunity to sell their rudimentary dwellings to real estate agents and property developers.

For some, this could be a great leap forward in income and opportunity; for others, it could mean exploitation and hard choices, weighing up the cash boost against moving out of the slum area.

How to best handle slum areas in urban and peri-urban communities will be a major challenge for most countries in the South as they continue to urbanize.

India’s phenomenal economic growth rate – forecast to be 7.9 percent this year by the Asian Development Bank, after averaging 7.7 percent per year over the past decade – has been the force behind an expanding middle class population, now estimated at 50 million people (McKinsey). Forecasts see it swelling from 5 percent ofIndia’s population to 40 percent by 2025.

With 30 percent of the population living in urban areas and cities contributing 60 percent of the country’s GDP and 90 percent of government revenues (Wall Street Journal), city-dwellers’ fate is critical to the functioning of the economy.

According to the 2001 Indian census, slums make up 25 percent of all housing and 26 percent of urban households lack access to sanitation facilities.

But Indu Prakash Vaidya, a 32-year-old housewife, is part of new trend in India’s city slums. Vaidya lives in a small shanty house in Mumbai with no running water, no sewage services and a jerry-rigged electrical connection.

Vaidya’s home is a just a single room for the five people in her family. They sleep on the cement floor and the ‘kitchen’ is a two-burner gas stove. The dwelling is so poorly constructed that they have to move around inside the room when it rains outside to avoid getting soaked.

But her humble home has been valued at US $24,000 by people looking to buy it.

According to real estate agent Hari Ram, the average price of a 91 square metre shanty home in Mumbai is now US $46,000.

“Shanties as small as 120 square feet… are as expensive as US $93,000,” Dinesh Prabhu, a construction company owner, told NDTV television.

Sixty percent of Mumbai’s 21 million people live in slums. And many are now finding themselves the subject of a property boom. This has led to the bizarre spectacle of luxury high-rise buildings sprouting up in a sea of slum housing. The slums are attracting the attention of those with money because many busy city workers face long commutes and are desperate for homes closer to work and entertainment areas.

The value of living close to the action is summed up by one slum dweller:

“People would kill to be in a place like this,” said slum dweller Sundar. “There are four local train stations close by. And the bus stop is a stone’s throw away.”

Some say this real estate boom offers enormous potential for the poor.

“All I can say is, given the current real-estate rates, those slums are invaluable,” said Sharad Mahajan of the Pune-based nonprofit organization Mashal (http://mashalindia.org).  Mashal focuses on the problem of urban shelter and also implements housing projects. It has been working in the Dharavi slum area with theMaharashtra government on its redevelopment. The slum is well-known for its representation in the film Slumdog Millionaire, and the area is next to the Bandra-Kurla Complex business district of Mumbai. Mashal has been mapping the area, home to 60,000 families, to make sure the redevelopment is fair to the families living there.

Land tenure is an issue however. Many slum dwellers do not have official title to the land they live on. Over time, they have become semi-official places to live as governments have hooked many up to electricity and drinking water. Issues of corruption and exploitation are also other problems that need addressing if this real estate windfall is to actually benefit slum dwellers.

Typical slum dwellers are day labourers and poor migrants. But others are people who good easily afford to live somewhere else but don’t want the long commutes to work.

“It is simpler and less expensive to live here,” said Sankaralingam, a plastic merchant, who estimates his annual income at around US $9,300: an amount that could get him a home somewhere nicer.

For Indu Prakash Vaidya, the dilemma – to sell or not to sell – makes for some painful choices. While her current home is prone to flooding during the rainy season, she feels she would have nowhere else to go if she sold the home.

Yet the pressure to sell is great and elemental.

“I have three children, and their education and well-being need to be taken care of. Financial constraints can push me to sell this shanty in the future, then where will I live? I will have nowhere to go,” she told NDTV.

By David South, Development Challenges, South-South Solutions

Published: December 2011

Development Challenges, South-South Solutions was launched as an e-newsletter in 2006 by UNDP's South-South Cooperation Unit (now the United Nations Office for South-South Cooperation) based in New York, USA. It led on profiling the rise of the global South as an economic powerhouse and was one of the first regular publications to champion the global South's innovators, entrepreneurs, and pioneers. It tracked the key trends that are now so profoundly reshaping how development is seen and done. This includes the rapid take-up of mobile phones and information technology in the global South (as profiled in the first issue of magazine Southern Innovator), the move to becoming a majority urban world, a growing global innovator culture, and the plethora of solutions being developed in the global South to tackle its problems and improve living conditions and boost human development. The success of the e-newsletter led to the launch of the magazine Southern Innovator.  

Follow @SouthSouth1

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New African Film Proving Power of Creative Economy

 

A new movie is generating excitement around life in the war-torn, chaotic and impoverished Democratic Republic of the Congo (http://en.wikipedia.org/wiki/Democratic_Republic_of_the_Congo – the central African nation – and proving how versatile and resilient a creative economy can be in a crisis.

Viva Riva! (http://www.vivarivamovie.com) is set in the capital, Kinshasa, and gives a raw portrayal of sex, violence and gangsters in the city. The film has already won a fistful of awards, and will now be released in 18 African countries.

Written and directed by Djo Tunda Wa Munga, it is being hailed as the first feature-length film to be made in the Democratic Republic of Congo in 25 years. The industry was shut down by long-serving dictator and President Mobutu Sese Seko, who was overthrown in 1997 in the First Congo War by Laurent-Désiré Kabila, who was supported by the governments of Rwanda, Burundi and Uganda.

Africa has a rich film history but its movies have struggled to reach commercial audiences – both on the continent and around the world – outside of showcases at film festivals. Without access to a wide audience, filmmakers are not able to make the sort of profits possible for films with a wide commercial distribution. It has also been hard to compete with the big budgets and the big publicity machines of traditional film centres like Hollywood or Europe. But it looks like Viva Riva! could change that situation.

Indigenous African filmmaking took off as countries became independent of their colonial European rulers in the 1960s and 1970s. One example is the Senegalese film comedy Xala (http://www.imdb.com/title/tt0073915/), directed by Ousmane Sembéne, and considered a classic. Previous portrayals of Africa have mostly been viewed through the cinematic lens of Europeans.

As the second largest country in Africa, the Congo has an estimated population of over 71 million (2011 estimate), with Kinshasa home to more than 8 million people (CIA – The World Factbook). It has suffered badly from war and chaos and has some of the world’s worst statistics for rape and sexual violence brought about by these conditions. The so-called Second Congo War began in 1998 and is considered the world’s deadliest conflict since the Second World War.

As a result, the world’s biggest United Nations peacekeeping mission is in the country in an attempt to stabilise the situation. (http://www.un.org/en/peacekeeping/missions/monuc/).

Filmmaking forms part of the creative economy, a vital and growing sector in many countries. As the Creative Economy Report 2010 states: “A new development paradigm is emerging that links the economy and culture, embracing economic, cultural, technological and social aspects of development at both the macro and micro levels. Central to the new paradigm is the fact that creativity, knowledge and access to information are increasingly recognized as powerful engines driving economic growth and promoting development in a globalizing world.”

For example,Nigeria’s US $2.75 billion annual film industry is the third largest in the world, following the U.S. and India. Nigeria’s ‘Nollywood’ produces more than 1,000 films a year, creating thousands of jobs, and is the country’s second most important industry after oil. In recognition of its importance, the country’s government has invested in the industry, reforming policies and providing training to promote film production and distribution.

The Creative Economy Report 2010 has highlighted a few key trends for the global South. It found that creative industry products, especially domestically consumed ones like videos, music, video games and TV programmes, are weathering the global economic crisis well. It also found the creative economy can help boost economies and bring countries out of recession if the right government policies are in place.

The exporting of creative goods and services continues to grow, doubling from 2002 to 2008. This represented a 14 percent per year growth rate. The global South’s exporting of creative goods reached a high of US $176 billion by 2008 and represented 43 percent of the world’s total creative industries trade.

The majority of the world’s mobile phones are now in developing countries, representing a vast, new platform for distributing, sharing and selling cultural products and services. Broadband Internet is also being rolled out to more countries and represents an enormous emerging opportunity waiting for enterprising people to seize.

The report also found more and more cities across the global South are placing creative economies at the centre of their urban development, emphasising culture and creative activities.

For Viva Riva!, the next stop is Africa-wide release in Botswana, Burkina Faso, Kenya, Lesotho, South Africa, Swaziland and Uganda. The film’s producers have their sights set on even more countries in central and West Africa.

“We want to show that you can release African films acrossAfrica,” co-producer Steven Markovitz told The Guardian. “As far as we can tell, it’s unprecedented. No one has tried to do an Africa-wide release in so many countries.”

There is more at stake with the film than just Congolese pride: it is about proving an African film can successfully take on the slick and well-funded film distribution machines deployed byAmerica’s Hollywood and European film distributers.

With the African middle class growing and a burgeoning African consumer class now clearly identified, many see this as the right time to make African film pay.

“African cinemas have been dominated by Hollywood and European cultural programmes catering to the intellectual elite, not tapping into a growing middle class who are interested in seeing films about themselves and their neighbours,” Markovitz told The Guardian.

“There is an audience, a real market for African films. They have disposable income and they want to be entertained. We hope that this will create a pipeline for further African titles on the continent.”

Viva Riva! is in French and Lingala (http://en.wikipedia.org/wiki/Lingala_language). The story revolves around a hustler who makes quick cash stealing oil and celebrates by going on a hedonistic romp through Kinshasa’s night clubs.

The film had its international debut at the 2010 Toronto International Film Festival and won the 2011 MTV Movie award for best African film.

Markovitz is from South African film production company Big World Cinema (http://www.bigworld.co.za). The producers hope the film will appeal to both French speakers and English speakers.

“There are distribution challenges in Africa but we thought this one presents an opportunity to make it happen,” he said. “Some African films have felt like homework but this is an entertaining action film and we think it can cross language barriers. We have to try things out.”

Critics have said good things about the film. The Nigerian actor and director Akin Omotoso told The Guardian: “I loved Viva Riva! Absolute breath of fresh air, an adrenalin rush from top to bottom, a great gangster flick.”

The film is unique as an African production that has “captured not just international attention but the continent’s attention”, he added.

“I think it stands a good chance; as we know, it’s up to the audience but either way it has made history.”

By David South, Development Challenges, South-South Solutions

Published: November 2011

Development Challenges, South-South Solutions was launched as an e-newsletter in 2006 by UNDP's South-South Cooperation Unit (now the United Nations Office for South-South Cooperation) based in New York, USA. It led on profiling the rise of the global South as an economic powerhouse and was one of the first regular publications to champion the global South's innovators, entrepreneurs, and pioneers. It tracked the key trends that are now so profoundly reshaping how development is seen and done. This includes the rapid take-up of mobile phones and information technology in the global South (as profiled in the first issue of magazine Southern Innovator), the move to becoming a majority urban world, a growing global innovator culture, and the plethora of solutions being developed in the global South to tackle its problems and improve living conditions and boost human development. The success of the e-newsletter led to the launch of the magazine Southern Innovator.  

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