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‪This article studies the economic mutations in the cinema and audiovisual sector in Côte d’Ivoire, with a particular focus on producers, broadcasters, distributors, directors, actors, technicians, institutional and political actors at the source of these changes. It points out that the economic environment of the sector is characterized by two very distinct financial models embodied by two generations (old and new) of filmmakers. From one generation to the next, the way film budgets are set up changes. Massively dependent on the windfall of international cooperation in its early days, the sector increasingly resorted to local capital since 2000 while assuming the transition to digital. Less elitist and more popular, contemporary Ivorian cinema primarily targets national audiences. Local in terms of its financing, it is also in terms of its target audience. Production is dominated by TV series broadcast by an increasing number of channels. The new dynamic and attractive environment arouses the dream of a local film industry called “Babiwood.”‪