What If The Caribbean Became A Media Hub?      

News Americas, NEW YORK, NY, Sun. June 6, 2026: The Caribbean is globally known for sun, sea, and sand – a powerful brand that has driven tourism for decades. But what if the region were also known as a media hub for film, television, and digital content storytelling?

Worldwide spending on film and television production exceeds $250 billion annually, yet the Caribbean captures only a fraction of that value, so small it is difficult to measure. Still, many of the building blocks for a successful screen industry are already in place: talent, production capability, distribution pathways, and audience.

With more than 45 million people in the region, an estimated 25–30 million in the diaspora, and a global audience drawn to its culture, the Caribbean has significant reach. It continues to produce distinctive storytellers while also offering compelling locations for everything from narrative features to reality television.

For many people unfamiliar with the depth and breadth of Caribbean cinema, The Harder They Come and Pirates of the Caribbean are often among the first titles that come to mind when asked to name films associated with the region. While neither fully represents the Caribbean’s rich cinematic legacy, the former demonstrates the enduring global appeal of authentic Caribbean storytelling, while the latter highlights the region’s capacity to support large-scale international production.

In the television realm, The Caribbean has proven its value as a production destination. Long-running productions such as Death in Paradise and Outer Banks have generated significant production activity in Guadeloupe and Barbados, respectively. Yet the region is often used as a backdrop without being identified on screen, limiting the tourism and branding benefits that can accompany production. Despite being filmed in Guadeloupe, Death in Paradise is set on the fictional island of Saint Marie.

Production alone, however, is not enough.

Today’s distribution landscape – spanning theatrical exhibition, broadcast and cable television, streaming platforms, and FAST channels – offers more viable pathways to market than ever before. Social media and platforms like WhatsApp have also created cost-effective tools for global marketing and audience engagement.

The Caribbean already benefits from billions of dollars in annual tourism spending and remittance flows from its diaspora. The challenge is how to better leverage those assets to support a sustainable creative economy.

The ingredients are already there. What is missing is alignment.

Creators continue to leave the region in search of opportunities and financing. Governments have yet to fully embrace the creative sector as an economic development strategy capable of generating employment, exports, tourism, and investment. Investors and industry leaders remain underexposed to the region’s potential. Each is moving forward, but too often separately.

Countries like India and South Korea have shown what is possible when policy, industry, and talent align. Parasite, Squid Game, and the South Indian blockbuster RRR are not accidents. They are the result of long-term investments in talent development, infrastructure, financing, distribution, and international market engagement.

If the question is how to bring these pieces together for the Caribbean screen industry, that conversation is already underway.

One recent effort took shape on May 16, 2026, during the second Caribbean Day at the Marché du Film at the Cannes Film Festival. Presented in collaboration with Pavillon Afronova and sponsored by the British Virgin Islands Film Commission, the initiative expanded its focus from visibility for Caribbean filmmakers to a broader discussion of long-term industry development.

Across a full day of panels, networking, and a screening of The Rhythm of Jamaican Art, distributors, filmmakers, festival programmers, government representatives, media executives, and creators explored how the Caribbean can compete more effectively in the global marketplace.

No single event will transform the Caribbean screen sector overnight. Yet, throughout the day, several themes consistently emerged: stronger connections between the region and its diaspora; deeper engagement with international industry partners; greater collaboration across Caribbean territories; and clearer pathways to global audiences for Caribbean stories, talent, and production capabilities.

The growing importance of regional and diaspora networking was evident in the participation of members of ODOS; a Trinidad and Tobago-based virtual creative community built largely through WhatsApp. Their presence illustrated how digital tools can connect creators across the Caribbean, Europe, and North America, helping to bridge geographic boundaries and foster collaboration.

The Caribbean has already demonstrated its ability to produce compelling stories, cultivate creative talent, and provide world-class production locations. The goal is not to replicate Hollywood, Bollywood, or South Korea’s screen sector. Instead, it is to build a Caribbean model – one that leverages the region’s culture, diaspora, and entrepreneurial spirit while aligning creators, industry leaders, investors, and governments around a shared vision for growth.

It’s industry-building time.

EDITOR’S NOTE: Mark Walton is an Associate Professor of Media Management at Parsons | The New School and regularly advises media companies, government agencies, and independent creators on distribution and business strategy. He is a first-generation Caribbean American with family roots in Barbados and Trinidad.This article was inspired by discussions held during the Marché du Film at the 2026 Cannes Film Festival. The views expressed are those of the author.