Govt courts investors with SEZ incentives to build film industry 

Allexer Namundjembo 

The government will offer policy and financial incentives to attract investors to the planned Namibia Film and Creative City.

The senior manager for marketing, branding and communications at the Namibia Investment Promotion and Development Board (NIPDB), Catherine Shipushu, said the project will provide land within a special economic zone (SEZ), fast-tracked permits and visas, and one-stop investor services.

She made the announcement on Tuesday, confirming the official call for expressions of interest (EOI).

The project, worth billions, will be developed under a public–private partnership model and will include world-class film production studios, casting agencies, accommodation, and hospitality services. 

It is aimed at creating jobs, building skills, and boosting tourism while expanding markets for Namibian creative content.

President Netumbo Nandi-Ndaitwah launched the call for proposals on Monday in New York during the “Experience Namibia” showcase, held alongside the 80th United Nations General Assembly (UNGA80). 

She described the Film and Creative City as a strategic investment in Namibia’s creative economy, connecting its launch to the adoption of UN Resolution 435 in 1978, which put Namibia on the path to independence.

For years, Namibia’s creative industries, particularly film and music, have struggled with poor infrastructure and limited funding. 

Despite successes such as hosting Mad Max: Fury Road in 2015, local filmmakers and artists often lacked the facilities and financing to compete internationally. 

Industry players have long argued that purpose-built creative infrastructure and investor-friendly policies would allow Namibia to rival South Africa and other regional markets.

In November last year, NIPDB chief executive officer Nangula Nelulu Uaandja said the country’s film industry faced significant challenges in attracting investment and international productions due to a lack of essential infrastructure and government incentives.

To address this gap, Uaandja said the Ministry of Finance and Public Enterprises, alongside the Ministry of Industrialisation and Trade, was exploring incentive packages for the Namibian film sector.

Beyond attracting foreign projects, she stressed the need to grow local content and increase Namibian visibility on international platforms such as Netflix, which already featured Namibian films like Baxu and the Giants.

NIPDB also said it was pursuing collaborations in the United States, following a delegation visit to Washington, D.C., and Los Angeles that aimed to foster ties with the American film industry during UNGA79.

Uaandja noted that the creative sector contributed less than 1% to Namibia’s GDP, despite its potential to foster economic development.

Namibian artists also face barriers in monetising digital earnings, as they lack access to platforms like Apple Pay, Google Pay, and PayPal, often necessitating travel to South Africa to access funds.

In the same month, Byron Joseph, President of the Filmmakers Association of Namibia (FAN), argued that the industry was thriving and capable of significant growth.

The Namibia Film and Creative City project will go beyond film and include fashion design, music, performing arts, technology, and innovation. 

Training, internships, and on-the-job learning will form part of the plan to develop Namibian talent.

The EOI is open to local and international players with proven experience in large-scale infrastructure or creative industry projects and the financial ability to secure global partnerships. 

A compulsory virtual briefing session will be held on 15 October 2025, and submissions close on 30 November 2025. 

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