ABIDJAN, Ivory Coast – At the International Salon for Audiovisual Content (SICA), a panel on co-production models became more than just a roundtable: it became a launchpad. The event culminated in the signing of a landmark co-production treaty between Ivory Coast and the French-speaking Walloon Region of Belgium, described by stakeholders as a long-awaited step in building stronger bridges between African cinema and global markets.
“This signature is far more than a diplomatic act,” declared Françoise Remarck, Ivory Coast’s Minister of Culture and La Francophonie. “It’s a major step in structuring the Ivorian film industry and developing solid partnerships with the great cultural nations of the world.”
The treaty, initiated during the 2024 Cannes Film Festival, sees French-speaking Belgium join Morocco, Senegal, and France as key Ivorian co-production partners. The agreement has already led to financing for four projects and opens up the Ivory Coast to Belgium’s tax shelter system, as well as its advanced audiovisual infrastructure, training programs, and network of festivals.
“Richness is born from exchange,” said Céline Ganseman, deputy head of mission at the Belgian Embassy in Abidjan. “To open up the Ivory Coast is to open up to its cultural dynamism and creative energy. We hope this creates the conditions for mutual enrichment.”
Ahead of the treaty signing, a panel entitled Inter-African and International Co-Productions and the Distribution of Works, set the stage underscoring the importance of such accords in the development of African audiovisual production, even beyond the continent’s borders.
Courtesy of Essie Assibu
Moderated by Nigerian comedian and producer Mamane, the panel featured a heavy-hitting roster of producers and filmmakers from across Africa and Europe: producer Dan Jawitz (South Africa), director Abderrahmane Sissako (Mauritania), producer Axel Guyot (France), and director Dani Kouyaté (Burkina Faso). The conversation tackled what it really takes to make international co-productions work– from vision and infrastructure to training and on-the-ground realities.
“Cinema is a relationship,” said Sissako, whose films like “Timbuktu” have drawn acclaim across global markets. “When you find the right person to connect with, everything becomes easier. It’s not just about money. It’s about rhythm, about belief, about having a shared dynamic.”
He argued that a strong script needs a strong producer and that governments must build long-term cultural vision to truly support their creative sectors.
“A country without a positive vision can’t build a production system,” Sissako added. “Festivals, meetings, and spaces like this make cinema possible. If they’re missing, young people can’t even dream of cinema.”
Veteran producer Dan Jawitz explained how South Africa’s ten co-production treaties, along with its world-class crews and rebate system (offering up to 35% reimbursement on eligible spend for productions), have made it a magnet for global studios, including Hollywood.
“They don’t come because they like us,” he quipped. “They come because the financing works. And it stimulates the economy. It puts money in.” South Africa’s co-productions with France, Canada, the U.K., and others have resulted in international successes like “The Woman King,” starring Viola Davis, which Jawitz’s outfit, Known Associates, helped produce in Cape Town.
French producer Axel Guyot called on African countries to adopt tax credit policies that can be globally competitive. “When a government announces clear financial incentives to shoot in-country, it gives producers a roadmap,” he advised. “Tax credits are neutral. They don’t judge your script. But they move money and create trust.”
Director Dani Kouyaté (“Katanga, The Scorpion Dance”) chimed in on the importance of training, especially for crew roles that require long-term investment: “It’s not just technical skills, it’s a mindset. That requires real commitment.”
By the end of the session, the conversation gave way to action: the official signing of the Ivory Coast-French-speaking Belgium co-production treaty took place directly after the panel. As Mamane joked, the deal felt like “proof that these kinds of conversations actually lead to something.”
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