Crimes of Both Past and Present a Common Thread for South African Filmmakers at Durban Festival

As a film critic with a deep appreciation for the power of cinema to reflect and shape our understanding of the world, I have long been drawn to stories that challenge us to reconsider familiar narratives and offer fresh perspectives on complex issues. In the case of South Africa’s rich and complex cinematic landscape, I am continually struck by the ways in which its films illuminate both the triumphs and the struggles of a nation still grappling with the legacies of apartheid and the ongoing pursuit of social justice and equality.

As a person who has had the privilege of growing up in South Africa and witnessing the transformative changes our country has gone through, I am thrilled that this year’s 45th Durban Film Festival begins on Nelson Mandela International Day. This day is a global tribute to Madiba, our first Black president, who devoted his entire life to ending apartheid and ushering in South Africa’s first democratic elections 30 years ago.

Thirty years after Mandela’s African National Congress party achieved historic victory in South Africa, the people continue to grapple with advancements and setbacks following the country’s groundbreaking shift towards democratic rule. While significant strides have been made in addressing past inequalities of apartheid, pressing issues persist. Crime rates remain high, and corruption is a concern. Unemployment looms large, especially for a growing cohort of young adults who came of age during the democratic era. The ANC’s failure to keep many of its pledges was underscored in recent elections when it lost its majority for the first time since taking power.

As a fascinated observer of South Africa’s rich history, I can’t help but ponder deeply during this significant 30th anniversary of your democratic milestone. Tara Moore, an insightful filmmaker, poses thought-provoking questions in her captivating documentary “Legacy: The De-Colonized History of South Africa,” premiering at this year’s festival. She asks, “Why is South Africa still the most unequal country in the world despite having democracy? Why does inequality persist if, by law, we were all supposed to be equal since 1994?” These questions resonate deeply with me, stirring a sense of curiosity and introspection about the enduring challenges faced on your transformative journey.

Moore’s documentary provides a detailed exploration of the harsh rules imposed during the colonial and apartheid eras in South Africa, affecting over 80% of the population. Through this investigation, it reveals how laws such as the 1913 Natives Land Act, which prevented Black South Africans from owning land, and other apartheid-era regulations, paved the way for extreme income disparity by denying Blacks the opportunity to build wealth over generations and escape poverty. Despite efforts by the current ANC government to correct these injustices, Moore argues that apartheid was the root cause of South Africa’s persistent inequality.

In Diana Keam’s “Don’t Be Late for My Funeral,” we get a heartfelt, firsthand account of the apartheid era’s complexities. The film focuses on Margaret Bogopa Matlala, Keam’s beloved domestic worker and nanny, who played a significant role in stabilizing her emotionally during her tumultuous childhood. The movie chronicles Keam’s trip to celebrate Margaret’s 80th birthday in her rural hometown. This heartwarming occasion unites the two families that span generations and racial boundaries in the evolving South Africa.

The director acknowledges the significance of addressing awkward topics and demonstrating the positive impact her family received from this woman’s robust presence, despite her being distant with her own kids. It is essential for us to understand our past and work towards a productive future. By avoiding confronting ourselves and our hurts, how can we possibly advance?

I deeply appreciate Keam’s film as a heartfelt homage to her beloved former nanny, whose influence extended far beyond what is commonly perceived. However, “Don’t Be Late for My Funeral” serves as a poignant reminder that for many South Africans, their daily lives continue to be shaped by the complexities of both pre- and post-1994 realities. Despite the optimistic outlook following the establishment of the democratic “Rainbow Nation,” the transition was not as clear-cut as we might wish it to have been.

Naledi Bogacwi’s documentary “Banned” and Craig Tanner’s film “The Showerhead” highlight the ongoing struggle for personal freedoms during majority rule in South Africa. Bogacwi’s work delves into the attempts to ban “Joe Bullet,” the first feature film with a solely Black cast, revealing that censorship under apartheid wasn’t just about stifling political opposition but also muting the lives and dreams of Black people (as per Bogacwi’s own statement).

Crimes of Both Past and Present a Common Thread for South African Filmmakers at Durban Festival

During apartheid, the restrictive censorship laws of the ruling government swept broadly. As a student activist and filmmaker, Tanner encountered this firsthand when his work was forbidden by the white-dominated regime due to its conflicting message. His movie chronicles the journey of groundbreaking political cartoonist Jonathan Shapiro, whose biting satire earned him the ire of former president Jacob Zuma and the robust legal machinery of the state. Amidst suppressed free speech in South Africa, Tanner asserts that only those with exceptional bravery, resilience, and determination, such as Zapiro, are capable of standing up to power and sharing the truth.

Due to a forward-thinking constitution, South Africans of all races and beliefs now experience freedoms that were absent during the apartheid period. The depiction of Black individuals on screens has significantly advanced since before democratic governance. Under apartheid, Bogacwi points out, any portrayal of Black people living in harmony, thriving, or even just driving cars and residing peacefully in areas like Soweto went against government propaganda and was suppressed. Instead, it is now common to see diverse representation that reflects the reality of South African society.

Surprisingly, the relaxed portrayals of ordinary life, which were prohibited during apartheid, remain scarce among this year’s selection of South African features in Durban. This scarcity underscores the reality that South Africa, which continues to grapple with inequality and an uncertain economic and political landscape, has become a tipping point for many.

At a dinner party in South Africa, the conversation often shifts to the latest crime wave hitting our neighborhoods. From break-ins to carjackings, these criminals seem to be making headlines in our local tabloids on a daily basis. And it’s not just the streets that are affected – these same criminals find their way into our cinemas as well. The films from Durban showcase a disturbing array of nefarious acts, leaving me feeling uneasy and uncertain about the world around me. It’s a stark reminder of the reality beyond the silver screen.

Mark Engels’ “Masinga: The Calling” is a complex tale that puts its main character, Masinga (an Interpol inspector born in Africa but living in the UK), against a mysterious international criminal organization. This comes when he is dispatched to Southern Africa to retrieve a group of Ukrainian teenagers who have been kidnapped by someone from the Russian underworld. The political implications intensify, yet Engels manages to keep the narrative grounded in his familiar territory of KwaZulu-Natal. With its stunning landscapes, indigenous traditions, and cast of powerful and corrupt local characters, this setting adds depth and intrigue to the story.

In “Sonti” by multi-talented Terrence Aphane, a village teenager becomes the savior of a kidnapped woman, unknowingly putting his family and even his own life in danger. In “Sierra’s Gold,” directed by veteran Adze Ugah, an artist in Johannesburg with an unusual natural ability finds herself in trouble when a pawn shop owner and his gang target her for her unexpected fortune. Though the directors have distinct styles, the omnipresent danger of violence resonates deeply with both on-screen characters and viewers in towns, townships, or suburbs throughout South Africa.

Crimes of Both Past and Present a Common Thread for South African Filmmakers at Durban Festival

As a cinephile born in Nigeria, I found myself drawn to the vibrant film industry in South Africa back in 2005. I made the move to attend AFDA, one of Africa’s most esteemed film schools, and was immediately captivated by the buzzing post-apartheid scene. With the world watching eagerly for its contributions to cinema, I felt right at home. My decision to join this industry has paid off handsomely over the years – my resume now includes successful projects like “Mrs. Right Guy” and the globally recognized Netflix production, “Jewel.” South Africa continues to be a beacon of opportunity for filmmakers from all corners of the continent, proving that despite its challenges, it remains a thriving hub for cinematic art.

Growing up, Aphane lived in poverty in the secluded Ga-Molapo village in Limpopo province. He recalls that his only distraction from our lack of resources was watching movies. This is the second film project for the director, who gained a following at film school through his YouTube channel Small House Brainiacs. Here, he premiered his low-budget debut, “Noon to Sunrise.” The distance between Ga-Molapo and Durban is approximately 600 miles, equivalent to a round trip from Hollywood to Modesto. However, Aphane’s transformation from the village to the silver screen would have seemed impossible during the undemocratic era.

Lesego, the storyteller in Kagiso Sam Leburu’s “Month End,” passionately believes that “if you haven’t visited South Africa, you’re missing out on seeing the world at its fullest.” Although films like Gavin Hood’s “Tsotsi” and Jahmil X.T. Qubeka’s “Knuckle City” have portrayed life in South Africa’s urban poverty-stricken areas, Leburu aims to present township stories with the most vivid backgrounds possible. He wants the world to recognize these communities as lively and vibrant as he knows them to be.

Amidst the harsh realities of high youth unemployment and rampant crime, the story “Month End” unfolds. The characters are Lesego, a laid-back young woman, and her best friend Boom Shaka. They find themselves in a desperate situation, trying to avoid the relentless debt collector, Dollar. Although the consequences may seem minor – it’s just a TV at risk if they fail to pay on time – the tone remains light and humorous, as depicted in Leburu’s successful comedy. Lesego casually remarks, “A typical day in the township: we wake up, search for jobs, smoke some weed, then go to bed.” The grim news headlines might suggest that South Africa’s democratic transition has not lived up to its potential, but even in such circumstances, everyday life can still provide small comforts.

The Durban Film Festival runs July 18 – 28.

2024-07-17 15:17

Crimes of Both Past and Present a Common Thread for South African Filmmakers at Durban Festival

Read More

Minority Mindset