South Africa
The fifth member of BRICS (chronologically, since 2010) has a still-developing film industry, but one with enormous potential. This potential stems from the fact that in recent years local studios have been actively used by Hollywood for blockbuster productions shot in South Africa. Films such as the Avengers, Lara Croft, and Bloodshot were worked on here, which means studios have steady orders, jobs are being created, equipment is being purchased, and — most importantly — professionals are being trained who will either leave the country (brain drain remains a serious problem) or stay to work on local films.
The country's overall box office is modest — in 2023 it amounted to $68 million. National releases account for between 1 and 4% of total ticket sales, which are very humble figures. But this is understandable: Hollywood dominance in South Africa is no less pronounced than in, say, Eastern Europe, Nigerian Nollywood enjoys little popularity among South African audiences (and the reverse is equally true), and developing local cinema requires substantial financial investment.
Among notable recent South African releases is Hunger, directed by Steve Sehloraho, shot in two local languages, Zulu and Sotho. The film earned $400,000, which is of course modest, but the theme of hunger is one of the most pressing issues in South African society, especially since the film is based on real events. A more significant box office was achieved by the animated film The Walking Tree Inn from Triggerfish Animation studio: $2 million in worldwide distribution. Notably, Triggerfish Animation may well become the animation giant that South Africa has so far lacked. The studio was founded in Cape Town and is already co-producing animated films with Disney. It is worth mentioning that South Africa submitted The Walking Tree Inn for the Academy Award for Best Animated Feature Film. The studio did not win, but it attracted the attention of the entire industry.
According to Comscore data provided by Roskino, over the past year Russian films grossed $95,000 in South Africa (as of early December), of which $87,000 came from the animated film Cats of the Hermitage. The film Finnik was also distributed there.
UAE
The United Arab Emirates joined BRICS in January 2024, becoming part of the expansion group. The UAE is a very promising territory for the global film industry, and this has become increasingly apparent in recent years. This refers both to the rapid development of domestic film production and to a boom in film festivals, as well as to the fact that the country has embraced cinema at the state level: numerous film industry support organizations have been established, such as the Abu Dhabi Film Commission, the Dubai Film Commission, and others.
The UAE has two potential objectives: internal and external. The internal one is building its own internationally competitive dream factory that will produce serious auteur cinema and bring Emirati culture to other countries. The external one is transforming one of the emirates into a new hub for the global film business. The optimal outcome would be to combine both objectives.
The most prominent festival in the UAE is the Red Sea International Film Festival (RSIFF), held in Dubai. Among the recent high-profile names to have attended this festival are Johnny Depp and Sharon Stone. The second major festival is the Abu Dhabi International Film Festival, which is currently not being held (it was suspended in 2015), but may be revived — a reconception of the festival is currently being discussed in the UAE.
Among current achievements, one can highlight the documentary Between Sand and Sea by Hafiz Ali Ali, which was presented at international festivals (the first UAE feature to screen at Toronto). Emirati filmmakers are also increasingly participating in co-productions, for example with Saudi Arabia, which has a similar trajectory of cinematic development.
Iran
Iran also joined BRICS in January 2024. Iranian cinema is a powerful auteur school with worldwide recognition. The most renowned filmmakers are Abbas Kiarostami (posthumously), Asghar Farhadi, Majid Majidi, Jafar Panahi, and Mohammad Rasoulof. Farhadi received two Academy Awards for A Separation and The Salesman, Panahi has been recognized multiple times at Cannes, including with the Golden Bear at the Berlin International Film Festival.
The Iranian film industry operates under strict censorship, but this has paradoxically given rise to a unique cinematic language rooted in metaphor, allegory, and poetic expressiveness. Many Iranian directors are compelled to work in exile: Panahi was long subject to a travel ban, while Rasoulof emigrated to Germany, where he continues to make films.
Iran's box office amounted to approximately $75 million in 2023. Hollywood films are not officially distributed in the country, so national cinema occupies nearly the entire market. Popular genres include comedy, family films, and social dramas.
Egypt
Egypt joined BRICS alongside the UAE and Iran. The Egyptian film industry is the oldest in the Middle East and Africa. Cairo was called the Hollywood of the East in the first half of the twentieth century, and Egyptian culture spread throughout the Arab world through cinema. Misr Studio, founded in 1925, is one of the oldest in the world.
The Egyptian industry is currently experiencing a renaissance. Whereas previously films were made primarily for the Arab market, Egyptian directors are now appearing more frequently at international festivals. For example, Feather by Omar El Zohairy received the top prize, the Golden Star, at the Marrakech International Film Festival.
For the full year 2023, Egypt's total box office amounted to approximately $105 million. National films account for a significant share of the market — up to 40–50% — which is attributable to the linguistic factor and the strong traditions of local comedy.
Ethiopia
Ethiopia became a member of BRICS in January 2024. It is perhaps the youngest and most promising film industry among all the bloc's new members. Film production in the country only began to develop in the 2000s, and Ethiopia now releases more than 100 films annually. The vast majority of them are shot in Amharic.
Ethiopia's box office is modest — estimates range from $10 to $20 million per year. However, local films account for up to 90% of the market, which is due to the language barrier and cultural specificity. Hollywood films are shown in a limited number of cinemas in major cities, but the main audience prefers domestic content.
Among notable Ethiopian films, The Awakening of Ethiopia and Tizita stand out as having attracted the attention of international film critics. Ethiopian cinema is in the process of forming its own language and aesthetic, and BRICS may serve as a platform for its international promotion.