Critic’s-Eye View: “Beyond the River”

In continuing my catching up of movie commentary for the last month, I’m compiling more South African reviewers’ views on a new South African release, this one Beyond the River and still showing in theatres. In it, a young unemployed man from Soweto finds a great avocation in canoeing when he teams up with an avid amateur canoeist from the northern suburbs. Together, they train to take on the famous Dusi Canoe Marathon in KwaZulu Natal, while each dealing with his personal demons. It’s true story and adapted from the book Confluence, the memoir of the canoeist Piers Cruickshanks.

In a review for the Tonight supplement to the Independent News & Media Group’s newspapers, Jamal-Dean Grootboom calls Beyond the River “a beautifully shot, heartfelt, true-life South African story that should be supported by everyone.”

The fact that director Craig Freimond, who also co-wrote the screenplay, was brave enough to not shy away from the vast racial inequalities in SA as an underlying issue is commendable. The way the film addresses these issues also never feels preachy and is done in a smart way. The two leads of the film, Lemogang Tsipa and Grant Swanby, have spectacular chemistry and Tsipa’s charisma shines throughout the film. … The cinematography of this film is also spectacular, from the close-ups of the canoeing to the sweeping, wide shots of the rivers and landscapes. This film is absolutely beautiful. It’s been a while since I’ve walked out of a film and had vivid images running around in my mind afterwards.

The screenplay is also something that all South African screenwriters should view as a template of how to deal with exposition properly. There’s never a scene where the characters explain things through tedious monologues. All the characters’ background information is given through smart dialogue and expertly placed visual cues. It really is refreshing to have screenwriters to do not treat their audience like idiots … and who give just enough information to put two and two together. The score is the film’s only weak point. The sound mixing is off on more than one occasion and the music is louder than the dialogue. The choice of music is also very questionable in parts.

Critic’s-Eye View: “Die Rebellie van Lafras Verwey”

I’m currently convulsed in a long stretch of catching up on this blog; commitments arose to which I had to give priority over viewing and writing about movies for a short while, as much as I hated to, but, fortunately, I’m now freely available to post here again. Die Rebellie van Lafras Verwey was a new South African release which, I think, is by now already gone from theatres. I saw it when it was playing, and, hopefully, will get a chance to say something more about it here later, without seeming too self-indulgent; for now, I’m sharing what others had to say in reaction to it. Just because there are many South African films that I would like to read about but missed the chance to in local papers after they finished their theatrical run, and because most of them don’t get the Rotten Tomatoes or Metacritic treatment of a long-standing compilation of reviews, I think it’d still be helpful to interested readers if I collected here what I could find on each South African work I see.

In his weekly Silwerskerm (“Silver screen”) column in the Rapport, Leon van Nierop reviewed the movie on its weekend of release (in the issue from the 9^th of April). After giving a brief run-down of the history of the film’s source material and a plot description, he praises the lead performance by Tobie Cronjé, who, in his view,

delivers a monumental portrayal of the cast-off person with idle aspirations. He is sometimes funny, but also tragic and nonplussed.

Africa’s Upcoming Premier Documentary Festival

Encounters Documentary Festival 2017

The Encounters Documentary Festival has been an annual film event in South Africa since 1999, taking place in both Cape Town and Johannesburg. This year, the 19^th Encounters South African International Documentary Festival will run from 1 June to 11 June, with screenings at the V&A Nouveau, the Labia, and the Bertha Movie House in Cape Town, and at the Rosebank Nouveau and the Bioscope in Johannesburg. Darryl Els, the festival director, reports that over 70 local and international features and shorts will be screened, no fewer than 32 of which are South African and 19 are world premieres.

Click here to see the entire 19^th Encounters South African International Documentary Festival programme, including booking and ticket price information, the entire selection of films, the festival schedule, and other features.

The festival receives support from a whole host of sponsors, including the National Film and Video Foundation (an agency of the South African Department of Arts and Culture), the Bertha Foundation, Al Jazeera, various commercial funders, as well as other branches of government cultural agencies. The Wikipedia article on the festival also reports that many overseas festivals and distributors programme from the Encounters Documentary Festival when looking for African content in documentary categories. The festival includes a number of workshops where attendees may engage with these sponsors and other strategic partners, with opportunities to meet funders, see presentations on publicity campaigns for documentary producers, see presentations on producing a debut feature, participate in discussions on the state of documentary filmmaking in South Africa, hear panels on breaking into the South African film industry, hear individual filmmakers talk about their own experiences and issues important to them, and listen to discussions on the forms and possibilities of documentary filmmaking. There are also sessions hosted by Al Jazeera that filmmakers, industry members, and observers may take part in that involve pitching and commenting on new ideas for documentaries, and a lab for filmmakers to get a chance to work on their films in post-production with an editing mentor. The information and schedules for all these events are in the programme.

In the Shadow of Camelot

“Jackie”

It may seem pointless to publish an entire post on a film that was released over two months ago and is now out of theatres, but Pablo Larraín’s Jackie was remarkable enough a film of 2017 for me to note it on this blog even after its run is finished. There were other films I watched and missed the chance to write about in the last few weeks, such as Fences and Hidden Figures (each of which has significant merit and appeal), but I found Jackie a particularly interesting and idiosyncratic work.

Since most readers who are interested in the film will already have seen it, and even those who haven’t are familiar to some degree with the real-life events it portrays, no plot summary or context is required of me here. Suffice it to remind you that it follows Jacqueline Kennedy (Natalie Portman) in the days from her husband’s murder to his funeral (plus a few flashbacks to before the murder, and a single day following the funeral), shown in hindsight, framed in a later interview of Jackie (as I’ll call the movie character to distinguish her from the real-life Jacqueline Kennedy) by an unnamed journalist (Billy Crudup). The story of the few days of arranging the funeral and Jackie’s life immediately afterwards is based in large part on the Life magazine interview by Theodore H. White, which is presumably what the fictionalised interview is meant to depict, or represent, as well as the deeper-probing interview with Arthur M. Schlesinger, which was only made public many years later. The flashbacks are taken from what we can guess about life in the Kennedy White House from the few public descriptions given of it by Mrs Kennedy, most famously in her 1962 televised tour of the White House.

South Africa’s Upcoming European Film Festival

European Film Festival 2017

“It was the fate of Europe to be always a battleground. Differences in race, in religion, in political genius and social ideals, seemed always … to be invitations to contest by battle.” Those were Calvin Coolidge’s words, uttered in an address in 1924. It’d be trivial to point out how correct he was then in his view of history, as well as how aptly his description of Europe has played out since. We shall overlook for now the present state of Coolidge’s own fair continent, which itself appears convulsed in fiery conflicts on very much the same grounds as he set out, and which provides our cinemas with an enormous bulk of their general fare; this month, from the 5^th to the 14^th, the focus at the movies in four major centres in South Africa (Brooklyn in Pretoria, Rosebank in Johannesburg, the V&A Waterfront in Cape Town, and Gateway in Durban) is on the specifically European tensions of our times – social, political, ethnic, religious, and, of most interest to this blog, aesthetic.

The European Film Festival has become an annual feature at the Ster Kinekor Cinemas Nouveau, coordinated by the Goethe-Institut South Africa, and organised in partnership with various European cultural and diplomatic organisations. It began in 2014 and this is its fourth iteration. There isn’t much of an opportunity to see European features in theatrical release in South Africa, so this one should be grabbed by all curious and enthusiastic local moviegoers. I attended last year, only to see a single film, but shall definitely be making concerted efforts to see far more this year. The festival director (and, I presume, sole curator) is Katarina Hedrén, who has brought over a selection of recent European works, evidently in an effort to span as wide a range of topics, moods, and nationalities as she could. I haven’t seen any of the films playing at the festival, nor even heard of some of them before checking the lineup, but it looks to me like a good sampling for us to gauge the current condition of mainstream European cinema.

Beauties and Beasts

“Moonlight”

Watching Barry Jenkins’s new feature film Moonlight is like being present at the very creation of the film – not just watching the scenes and performances being captured on camera, but witnessing the conception of it inside the director’s mind. He has filmed and presented it with such spontaneity, and with so thorough a transference of deep subjectivity, that, as François Truffaut once wrote of the films of Renoir, I had to watch it in a theatre a second time just to see if it would turn out the same way. Each shot we see is not merely the canny illustration of burning experiences being depicted and fierce emotions being expressed, but is itself the very expression of them, wrenched from the director’s mind, and arising naturally and spontaneously out of the situation of it being filmed and edited.

Take, for example, the scene playing about halfway through the middle of the film’s three chapters, in which the mother of the main character, Chiron, played by the remarkable British actor Naomie Harris, anxiously greets her son when he gets home one afternoon, and asks him for money (the implication is clear that it’s for more drugs, to feed her addiction). Jenkins has made clear in a large number of interviews and press statements that Harris’s character, Paula, as written by him and his co-writer Tarell Alvin McCraney and as filmed by him, is based in large part on his own mother. Her scenes in the film play with an especial and tremulous immediacy, and this particular one stands out for a peculiar visual invention as well – Jenkins, in the moment of filming the actor’s performance, got her to play it looking straight into the lens, and shot it at the higher rate of 48 frames per second. (Almost all video you see is shot at 24 frames a second; the heightened speed is a new industrial technological advance, notably used to shoot Peter Jackson’s recent Hobbit trilogy.) The result has the effect of an unnerving and rare proximity to the figure onscreen, intensifying her essence while simultaneously rendering it more opaque. Indeed, throughout the film, Harris’s performance is perhaps the most intricate (while Janelle Monáe takes the crown for distinctiveness, Trevante Rhodes for tender sensitivity, and Mahershala Ali for grandeur).

Money matters

I was shocked to read that Kalushi: The Story of Solomon Mahlangu, Mandla Dube’s directorial debut, cost more than R20 million to make. This was reported in an article from January by Gali Mbele in the Sunday Times. The figure is particularly dismaying because I know that no narrative South African film has ever grossed that much money at the box office; Kalushi, which is by no means a record-breaking film, couldn’t hope to gross that much, and, since many deductions have to be made for expenses and other agreed costs, as well as the distributor’s and theatres’ portions of the income, will never make back that huge budget. (So far, Kalushi has grossed about R1.2 million in theatres.)

It drew my attention to the financial matters of film-making in South Africa. How easy is it for a first-time director, such as Dube, to secure the resources he needs to make his film? Does it differ between different kinds of films? How much easier is it for experienced directors with careers and reputations behind them? Perhaps even more importantly, how does this supposed struggle for funding and whatever sources for funding as may be found affect what ends up on the screen? Mbele reports that the main institutions that film-makers can apply to for financial support are the National Film and Video Foundation, the Department of Trade and Industry, the National Lottery Commission, the Industrial Development Corporation, and the Gauteng and KwaZulu-Natal film commissions. So far as I can tell, each of these entities is owned and operated by the state; to what extent is the state being allowed – by grim financial necessity – to intervene in the works of local film-makers?

A Band Apart

“Kalushi: The Story of Solomon Mahlangu”

To see what other critics had to say about Kalushi, click here.

Kalushi: The Story of Solomon Mahlangu is the directorial début of Mandla Dube, who has previously worked as a cinematographer on short films and documentaries. It tracks the life of Mahlangu from his time as an ordinary resident of Mamelodi, beginning just before the protests of 16 June 1976, when he was nearly 20 years old, through his exile in Mozambique and Angola, his military training in the uMkhonto weSizwe camps, his return to South Africa to carry out MK guerilla operations, and his subsequent capture and trial, ending with his death by execution in 1979.

The story of Mahlangu’s life and death is an important piece in the history of the antiapartheid struggle, and, therefore, important in the history of South Africa in general. It’d be a valuable thing for all South Africans to know it, to understand the circumstances of it and how they contributed to the events, and to appreciate the full implications of it. Every individual I’ve heard from — and I agree entirely — has remarked on how urgent it is for us to learn and spread the stories of people like Mahlangu, stories which are at risk of being erased and forgotten, and stories that enlighten us by revealing the past and its people.

But a good and important story are by no means sufficient for a good and important film. The venerability of a work’s subject does not necessarily render the work venerable. It’s regrettable that we don’t learn more about South African history at school, and in much greater detail. I aver that schoolchildren will benefit from learning about MK martyrs and just what conditions and manoeuvres led to their deaths, as well as how strongly the legacy of those deaths still impact South African life. I also aver that we should not have to rely on feature films to educate us in these vital matters; I myself only learned the life story of Mahlangu when I heard there was to be a film on it and I looked it up online, and I’m sure most viewers will only learn of it when they see the film. This is woefully unfortunate, and it seems to me to beg the question: If we had all learned about Mahlangu and others like him while growing up and were better educated on the history of the antiapartheid struggle, would Dube’s film still be so widely accepted by audiences?

Live in Fragments No Longer

DVD Notes: “Howards End”

In brief commemoration of the 25^th anniversary of the theatrical release of the film adaptation of one of my favourite novels, I read Anne Thompson’s blog post from last August listing five lessons that contemporary Hollywood can learn from “the classic” Merchant Ivory film Howards End. Thompson posted her piece to coincide with the release of the first of many Merchant Ivory restorations, and characterises the films as “period dramas adapted from literature (often E.M. Forster or Henry James) and graced with top actors and gorgeously detailed sets and costumes.” She comments that their “remarkable collection of low-budget indie dramas … were so instantly recognisable that ‘Merchant Ivory’ became not only a brand but also a description of an art film genre often identified in ads with ivy trellises.”

So far so good. Thompson’s judgements of the film as a “classic” and of the oeuvre as “remarkable” are value judgements, and she’s welcome to them. I’m not particularly fond of any Merchant Ivory film and have written as much on this blog; the two iconic out (they were romantic as well as production partners) filmmakers more or less began the middlebrow tradition of selling nothing more than literary tone and faux-élite literary credentials with their many literary adaptations cobbled together by Ruth Prawer Jhabvala, an esteemed novelist in her own right. As with the contemporary work that continues this tradition – perhaps most prominently Downton Abbey – the films invite viewers to relax into the affluence they depict, as well as to look on the setting through a cheap halcyon gauze of crude nostalgia, with virtually no cause for reflection or examination. With carefully considered storylines and meretricious intellectual and cultural value, the work of Ismail Merchant, James Ivory, and Jhabvala can be regarded as important precursors to today’s esteemed television fare.

Where Thompson goes wrong is in prescribing a set of rules – her five lessons – that she skims from the patterns used by Ivory in making Howards End for the movies that Hollywood makes today. She’s decided that Howards End is better than the current industry average, and that that average could well be lifted if more production teams could just start acting like the one that created Howards End.

Critic’s-Eye View: “Kalushi”

Kalushi: The Story of Solomon Mahlangu, the directorial début of cinematographer Mandla Dube, opened on Friday, 10 March, in theatres across the country. Probably the most anticipated South African release of 2017 so far, it tracks Mahlangu’s progress from hawking on weekends as a Mamelodi adolescent in 1976 through his enlisting and foreign training in uMkhonto weSizwe to his eventual capture and trial, and death in 1979. Dube spent a number of years developing the film, reportedly in response to the indifference he witnessed among students regarding the history of the antiapartheid struggle during his time teaching at the University of the Witwatersrand. For those eager to hear what is being said about the film, I’ve compiled excerpts from the reviews I could find.

Read The Back Row’s review of the film here.

Writing for the City Press last June, when the film was being screened at the Durban International Film Festival, Charl Blignaut reports that he “cried at least half a dozen times during the screening … Okay, maybe more like a dozen times.” He goes on:

“Kalushi is flawed in many places, but it is a hugely important film. … The very real and hideously brutal violence Mahlangu met is shown without flinching. But the audience sure as hell does flinch. …

Yes, Kalushi is uneven in places, yes it’s very commercial in a Hollywood way, yes Rashid Lanie’s very good score is way sappy at times, yes [Pearl] Thusi is too old for her role and [Thabo] Rametsi a bit Model C, yes the MK camps are a bit romanticised. But, frankly, so what? If a narrative connects the way Kalushi does, if it restores dignity to black life and reversions the narratives of history we are taught, then it negates these petty critical concerns.

The cinematography is brilliant, shot by Tommy Maddox-Shaw, the universe is beautifully realised, the research is thorough, and there are performances that will make you reach for your tissues – including scenes from Thusi. And the fantastical scenes of June 16 transposed to a township backyard are nothing short of genius. Kalushi is the struggle film we have been waiting for even though we thought we had lost our appetite for apartheid atrocities on screen.”

Critic’s-Eye View: “Keeping Up With the Kandasamys”

Once again, I find that I am the only blogger who has posted an external review on the IMDb page of a South African film (click here to read it). For those who’d like to hear what others have to say about Keeping Up With the Kandasamys, Jayan Moodley’s 2017 Chatsworth comedic version of Romeo and Juliet, I’ve extracted excerpts from reviews posted by other South African moviegoers and compiled them here, for your perusal.

In a review posted on the Channel24 website last Friday, Gabi Zietsman states:

“Keeping Up with the Kandasamys is a lovely stroll through Durban’s famous Indian suburb Chatsworth and the lives of those who live there, even if it might be exaggerated. The two leading ladies, Jailoshini Naidoo and Maeshni Naicker are a dynamite duo and you can’t help but wonder why we haven’t seen them in more movies. …

The disses and clapbacks are pure gold, and these veteran actresses’ comedic timing can make Trevor Noah take notes. Director Jayan Moodley and writer Rory Booth work great as a team and produced an entertaining comedy that will make you scream with laughter. …

Even though the film celebrates Indian culture and identity, the characters remain relatable across all racial and cultural lines, connecting with the audience’s own familial experiences. …

The one thing that failed the movie was the dramatic scenes. When it finally comes out why the two women have been at each other’s throats all these years, the film takes a sudden sombre turn that doesn’t really fit with the first part of the film. The emotions and tears felt like they were being forced through a meat grinder, but luckily it managed to find its way back to the humour for the end, complete with a Bollywood dance number.”