kagablog

it’s a very good movie. Bloody good in fact. Totally unique to have an insider’s view of the media machine at work. I’m most impressed
with the fact that you had the vision twenty years ago to shoot it the way you did. That moment unlocking the door - with the 80s glasses
and post punk hair - “strange lyrical, never before seen on film”.

The Dada jump cuts are totally in keeping. And I’ve never seen Mandela so candid and vulnerable in interview. When did you shoot that? The development with him talking about not renouncing violence and then cutting to police shooting on the parade that very day is breath taking. You’ve managed to say something interesting about the general through the particular. It’s what we’re always striving for, in fiction too.

I hope your agreement with e-tv allows you to do the festivals internationally and to sell the film foreign. Besides TV I can see it being a prescribed ‘text’ for media studies. Silverdocs will love it, and probably Seattle, Toronto, IDFA…… Big hand.

welcome nelson
2010
23min
produced and directed by craig matthew
edited by aryan kaganof
sound design by daniel eppel
theme song written by croc-e-moses and sung by alice matthew

Smoorverlief, a short film by students of the Department of Drama and Film, Tshwane University of Technology (TUT), will compete at the European Independent Film Festival.

It is up against four other international films in the category for Best non-European dramatic short film at the European Independent Film Festival held in Paris, France from today, Friday 12 March, until 14 March. “I have not seen any of the other films that we are up against, but I would say we have a decent chance,” says Greg du Tertre (20), a third-year film student and producer of the film.

“Words cannot describe my excitement when I heard the news that the film was nominated,” says Greg. “This was the first real short film I produced and to see it just get into the festival was an amazing feeling.”

The film, shot in Swellendam in the Western Cape, is set in 1967. The storyline revolves around newlyweds Antoinette and Ben Kellerman. After their dark, eerie honeymoon Ben discovers that his wife is lying about her affair with Robert. He then hires his best man, Zirk, to kill Robert. But, things turn out horribly wrong when Zirk decides to kidnap the bride as well.

Greg was born and bred in Pietermaritzburg in KwaZulu-Natal. “From a young age I had a love for television and film. In high school (Maritzburg College) I started chasing my dream, working at a production company on weekends and in my free time,” he says.

Greg adds that he was very lucky to be given the chance to produce Smoorverlief as he was only a first year at the time and it was a third-year production.
Blood and Steel, a film he produced at the end of last year, won best TUT film of the year in 2009 and has since been selected for the 39th Internationales Studenten Filmfestival sehsuechte in Potsdam, Germany. This is the biggest European student film festival. It will take place from 20 April to 25 April. The film will compete in the category Focus South Africa.

Smoorverlief has been commissioned by M-Net for five years and will be screened on M-Net, Movie Magic 1 and Movie Magic 2 on DSTV.

It’s finally arrived, the club has gone into high gear. Everything looks like it is going to work out alright. The Dance floor is filled to capacity. People even dance by the bar. The party has come to a climax, the night looks as if its gonna turn out okay. … The bars pump with excited customers. The booze is going fast. The bartenders are raking in the cash. … Arthur has found his groove. He is joking and letting more people in. … Neo and Rian toast their success by having shots with some of the punters.

The club has become a wild frenzy, the people are making the walls shake as Famous spins his web around the people. Famous is on form spinning the vinyls, a god among men. People reach out and touch him as he pushes the party to the limits.

TITLE: 3 A.M.

SCENE 125 INT. NIGHT. X.S. NIGHTCLUB - MONTAGE
People dance, … people drink, … people make-out, … bartenders make money, … its Caligula. Famous puts on Maveric’s ‘Dali’. He leaves the DJ booth and finds Moratiwa. He pulls her close.

FAMOUS
I am glad you came back.

MORATIWA
And the bitch?

FAMOUS
She’s my ex.

MORATIWA
And me?

FAMOUS
You are my next.

Moratiwa smiles.

MORATIWA
I don’t know what’s up. Thought I
had this under control but
FUCCCK…I like you a bit too much
Famous. Being with you felt a bit
too good. You got the magic 4-5,
is there such a thing?

FAMOUS
Yes there is. Cause I feel it too.

They kiss.

SCENE 126 INT. DAWN. DELICIOUS EXPERIENCE CLUB
Gecko is standing behind the deck, scratch mixing an awful cacophony of noise. Darknero is the only other person in the club. He is dancing to the noise, shaking his head as if having a good time. Bouncer Arnold is asleep on the floor with an empty bottle of Black Label in his hand. Then STAN emerges into the deserted and forlorn looking club. He screams.

STAN
What the fuck is going on here?

Gecko drops the volume to silence. Darknero is shaken out of his reverie.

STAN
You two fucken clowns were supposed
to break up the party for Flash.
What the fuck happened?

Gecko and Darknero both look abashed.

DARKNERO
It doesn’t look like there’s enough
room in this town for more than one
party.

STAN
You fucken losers!

SCENE 127 EXT. X.S. DAWN. NIGHTCLUB
A DANCING CLUBBER stands out on the street. He is still feeling the effects of the night at the club. He dances to an imaginary beat in his head. Exhausted CLUBBERS filter out the door and into the street toward parked cars and garages. They walk away after a successful night’s party.

TITLE: 5 A.M.

SCENE 128 INT. MORNING. X.S. NIGHTCLUB - BAR AREA
The Club is empty. Cleaners, bartenders and bouncers shuffle out the doors. A bottle of Jack Daniels and two glasses is waiting on the bar counter. TWO FIGURES walk into frame and sit down at the bar. They look like they have had a night from hell. To the left is Flash, to the right, Lot. Both men lounge over the bar lethargically. Flash is deleting photos of Khanya from his cell phone picture gallery.

FLASH
Now that was some night.

LOT
A night to remember.

Flash pours drinks. Ritualistically they CLINK glasses. They down the drinks.

LOT
Well done tonight. Sorry for what
happened.

FLASH
It all worked out and we can thank
the DJ for saving our lives.

Famous walks past with Moratiwa in tow. He winks at them. Lot and Flash wave at the departing DJ. Flash sips again, a big sip, from his Jack Daniels. He turns to face Lot.

FLASH
Tonight was the best night a man
can ever want. I am going out on a
high. I’m quitting the party.

LOT
You will be back. The party is your life.

FLASH
You wanted responsibility. You
wanted in. You got it. Me I’m going
home.

Flash drops the keys in Lot’s drink and walks toward the door where he sees Tashaka starting her car. Lot watches as Flash stands in front of Tashaka’s car and prevents her from driving off. She rolls down her window and the two of them talk. Tashaka starts laughing and Flash jumps into the passenger seat. He turns towards Lot and waves then Tashaka puts foot on the accelerator and they drive out of frame.

SCENE 129 EXT. MORNING. X.S. NIGHTCLUB ENTRANCE
Lot stands at the entrance smiling at the fast disappearing car of Tashaka. He closes and locks the front door. Then the neon X.S. sign is turned off.

SCENE 130 EXT. LONG STREET - EARLY MORNING
The street are empty. Long Street is asleep.

FADE TO BLACK

TWO BEATS

SCENE 131 WHOOSH! DIGITAL SOUND AND MORPHED VISUAL. WE SEE THE DISCO BALL SPINNING.
Inside every one of its tiny mirror frames GECKO! His hands holding on to the bars of the prison he is in! His face grimacing in a snarl of rage and hatred.

GECKO
So that’s my story. That’s how I got
here. That motherfucker Zisiwe traced
the bomb scare call to my phone! Fucking
GPS techonology! But here isn’t where
I’m going to be forever. And when I get
out Flash is going to learn the full
meaning of revenge. In all eleven official
languages!

DIGITAL WHOOSH and the disco ball spins out of frame. Cue music and end titles.

For the third year, the Africa in Motion (AiM) film festival is inviting African filmmakers to submit short films of up to 30 minutes for the festival’s short film competition. In order to target the competition specifically towards young and emerging African film talent, filmmakers who enter a film for consideration must not have completed a feature-length film previously. Films entered must have been completed in 2007 or after.

A shortlist from all the entries will be selected and announced by the end of August 2010. From this shortlist, the competition winner will be chosen by a high profile jury and announced at an awards ceremony at the Africa in Motion festival in October 2010. The jury will consist of local and international film specialists and established African filmmakers.

All shortlisted films will be screened at the festival. In addition to the overall first prize selected by the jury, an audience choice award will be selected by the audience at the screenings and announced at the end of the festival.

The deadline for short film competition entries is 31 May 2010. Please see below for full submission guidelines and to download the entry form. Please read carefully through the submission guidelines and email the festival co-directors Lizelle Bisschoff and Stefanie van de Peer with further enquires at: submissions@africa-in-motion.org.uk.

SUBMISSION GUIDELINES

• We accept entries from all filmmakers of African nationality working in Africa or abroad. We are particularly interested in giving exposure to young, emerging African filmmakers living and working in Africa. To this end, filmmakers who enter a film for consideration must not have completed a feature-length film previously. Films could be fiction, documentary, animation or experimental and shot in any format.

• Only recent films directed by filmmakers of African nationality will be accepted. The film must have been completed in 2007 or after and could have been screened on television, at festivals and in cinemas previously.

• Films should be no longer than 30 minutes.

• We will only accept films in English or with English subtitles. Participants are responsible for all translation and subtitling, but please get in touch with us if you need advice/support on this.

• Viewing copies should be on DVD (any region). All films submitted should be accompanied by a completed entry form and all viewing copies should be clearly labelled with the title of the film and name of the director. Please submit three DVD viewing copies as well as three copies of the completed entry form.

• Unfortunately viewing copies and promotional materials submitted cannot be returned to the sender and will be stored in our festival archive. These are kept exclusively for research and non-commercial purposes.

• All deliveries from outside the European Union should be marked with the phrase “no commercial value – for cultural purposes only”. Applicants are responsible for the cost of posting the entry form and viewing copy to us.

• The completed entry forms and viewing copies should reach us not later than 31 May 2010. There is no entry fee.

• We welcome stills, press releases and other promotional materials to accompany entries, which we might use for promotional purposes. Digital stills can be emailed to submissions@africa-in-motion.org.uk with the title of your film in the subject box. Digital stills submitted should be in JPEG format and must be at least 300 dpi and no less than 500KB.

• By submitting your film to the Africa in Motion short film competition, the copyright holder of your film authorises the festival to make clips of a maximum of three minutes available on online broadcast channels (such as the Africa in MotionTV channel and other online channels affiliated to the festival). The purpose of this is solely to promote the festival and your film.

• We will contact all applicants in August 2010. If your film is shortlisted we will get in touch with you to arrange for a screening copy to be sent to us (screening copies could be on DVD, but should preferably be on a professional exhibition format such as Betacam SP, Digibeta or HD CAM). Participants are responsible for the cost of sending the screening copies to the festival. The festival will cover the cost of returning/forwarding screening copies.

Three copies of the completed entry forms and three viewings copies on DVD should be posted by 31 May 2010 to:

Africa in Motion Film Festival
6 East Bay
North Queensferry
Fife
KY11 1JX
UNITED KINGDOM

The theme of Africa in Motion 2010 is “Celebrations” and we are inviting African filmmakers to submit documentaries relating to this theme to be considered for inclusion in the festival taking place in October.

In 2010, 17 African countries are celebrating 50 years of independence, and we are interested in receiving documentaries which explore the legacy of colonisation, liberation struggles, independence and nationalism of any of these 17 countries, which comprise: Benin, Burkina Faso, Cameroon, Central African Republic, Chad, Côte d’Ivoire, Democratic Republic of the Congo, Gabon, Madagascar, Mali, Mauritania, Niger, Nigeria, Republic of the Congo, Senegal, Somalia and Togo.

In addition to the above, we are also interested in documentaries exploring other themes of celebration – including music and dance documentaries celebrating African creativity, and documentaries dealing with African traditions, rituals, initiation and rites of passage ceremonies, birth, marriage, mask making and wearing, clothes and costume designing and wearing, culinary traditions, tattooing, jewellery and decorations such as sculpture, wall painting and architecture. We are keen to explore these themes from historical, traditional as well as contemporary perspectives and we are looking for films which address these themes with creativity and innovation, films which celebrate the rich cultural diversity of Africa while at the same time avoiding the exoticism that so often dominates popular representations of Africa.

Our viewing committee consisting of African film specialists will select the films to be included in the festival based on their quality and relevance, and will announce the selections by the end of August 2010. Please note that this is not a competition strand; no winner will be selected and no prize money is involved. What we are offering is the chance to have your film screened at one of the most prestigious African film festivals world-wide and to expose your work to a wide audience in the UK.

The deadline for entries is 30 April 2010. Please see below for full submission guidelines and to download the entry form. Please read carefully through the submission guidelines and email the festival co-directors Lizelle Bisschoff and Stefanie van de Peer with further enquires at: submissions@africa-in-motion.org.uk. We are interpreting the theme of “Celebrations” very widely, but please get in touch with us if you have any queries.

SUBMISSION GUIDELINES

• We accept entries from all filmmakers of African nationality working in Africa or abroad.

• Films should be primarily in documentary format, although we will also consider docu-fiction films and experimental documentary films. Films could be of any length. We accept recent as well as older films.

• Films could have been screened on television, at festivals and in cinemas previously, in the UK or internationally, though we will give special consideration to UK premieres.

• We will only accept films in English or with English subtitles. Participants are responsible for all translation and subtitling, but please get in touch with us if you need advice/support on this.

• Viewing copies should be on DVD (any region). All films submitted should be accompanied by a completed entry form and all viewing copies should be clearly labelled with the title of the film and name of the director. Please submit three DVD viewing copies as well as three copies of the completed entry form.

• Unfortunately viewing copies and promotional materials submitted cannot be returned to the sender and will be stored in our festival archive. These are kept exclusively for research and non-commercial purposes.

• All deliveries from outside the European Union should be marked with the phrase “no commercial value – for cultural purposes only”. Applicants are responsible for the cost of posting the entry form and viewing copy to us.

• The completed entry forms and viewing copies should reach us not later than 30 April 2010. There is no entry fee.

• We welcome stills, press releases and other promotional materials to accompany entries, which we might use for promotional purposes. Digital stills can be emailed to submissions@africa-in-motion.org.uk with the title of your film in the subject box. Digital stills submitted should be in JPEG format and must be at least 300 dpi and no less than 500KB.

• By submitting your film to the Africa in Motion festival, the copyright holder of your film authorises the festival to make clips of a maximum of three minutes available on online broadcast channels (such as the Africa in Motion TV channel and other online channels affiliated to the festival). The purpose of this is solely to promote the festival and your film.

• We will contact all applicants in August 2010. If your film is selected for inclusion in the festival programme we will get in touch with you to arrange for a screening copy to be sent to us (screening copies could be on DVD, but should preferably be on a professional exhibition format such as Betacam SP, Digibeta or HD CAM). Participants are responsible for the cost of sending the screening copies to the festival. The festival will cover the cost of returning/forwarding screening copies.

Three copies of the completed entry form and three viewings copies on DVD should be posted by 30 April 2010 to:
Africa in Motion Film Festival
6 East Bay
North Queensferry
Fife KY11 1JX
UNITED KINGDOM

first published in the sunday independent, 28 february 2010

Review: WELCOME NELSON viewed as FIRST STEP TO FREEDOM

e TV 11 FEBRUARY 2010

PRODUCED AND DIRECTED BY CRAIG MATTHEW

The pre-release press splurb was very mischievous.

Footage of Mandela:

“being taken completely by surprise at his release.”

HUH?

“tragically identifying with his white warders in what must be one of the most acute cases of Stockholm Syndrome in history.”

HUH?

In 1980 Craig Matthew had a MAJOR international scoop when he leopard crawled through the undergrowth with his huge camera to film apartheid style demolition/forced removal tactics (Guguletu/Khayelitsha?) after a tip-off at 2 am. Those around at that time would be aware how extremely life threatening this activity was. It is to Craig’s eternal credit that he tackled this task with gusto. I shared a communal house with him and 3 others, situated in Kennilworth, a ‘coloured’ area on the ‘un’ side of Harfield Village in Cape Town. It was a lively time of political and philosophical discussion.

With Craig’s journalistic nose for being in the right spot at the right time, I had a good sense that I was about to watch something authentic and well centred. I was not disappointed.

Underlying footage of the immense historical import of this event, is an interview with Mandela, cross referenced with an interview with a cameraman at the event, Chris Everson. The interview with Mandela shows him to be an extremely astute politician, in spite of the fact that he had been insufficiently prepared for his release (the political expedience was obvious) and that he had known very little of the type of impact his release would have. In this sense Mandela, being the compassionate gentleman that his is, was thinking that he would need to bid farewell to his prison warders when he left. The frenzy of the day made sure this was never going to happen. Mandela mentions this fact IN CONTRAST to the smallness of his everydayness within the confines of prison, in relation to his sense of intimidation at having to face the WORLD at a press conference. This hardly has anything to do with ‘Stockholm Syndrome’ - after 27 years in prison!!?? The document points out that the Nationalist Party manipulated a media coup in releasing the first photograph of Nelson Mandela in 27 years, standing next to F.W.. de Klerk. Well, given that they had to face the dissolution as an illegitimate ruling party, it is little wonder that they had to try and save face. And what a monolithic Afrikaner face that was! F.W. de Klerk while just breaking short of being patronising, never the less comes across as a lotto announcer placidly trying to convince somebody of their win. In hindsight it becomes clear that P.W. knew he was doing EXACTLY that: the ANC (elite) have not won the country - they have won the lotto. Yet, as we now face the paternalism of the ANC, the paternalism of the Nationalist party was hardly any different. Apartheid kept an entire nation shackled to the past, in a vain attempt to promote the interests of a few. Thus, when apartheid came tumbling down, an entire world rushed IN. EVERYBODY had to suddenly make a huge paradigm shift. 20 years later, and many are still struggling. Mandela also makes the point that the Nationalist party had not given him enough time to prepare for his release and NOT that he was ‘taken completely by surprise’. Funny how meanings can be misread!

In the interesting cross reference interview with Chris Everson, we get insights into the media frenzy plus rapid, almost glib ‘reminders’ of what it was like under apartheid. I say ‘almost glib’ because the following 20 years have flown by so rapidly and it seems as if we are being spin doctored into thinking that ‘apartheid wasn’t that bad’. However, many of us are now wondering: where/how HAS IT SINCE gone so wrong? I wonder how many South Africans fully appreciate the immense diplomatic task that faced Nelson Mandela on his release? Quite clearly it wasn’t just a case of ‘now you can rule’!

The documentary quite chillingly shows that at exactly the same time as Mandela was being released, the Grand Parade in Cape Town was fraught with thronging masses, and apartheid-style control mechanisms (still evidenced today by the ANC). If anybody needed any proof of the REVOLUTIONARY pressure that had long since exceeded boiling point, the dense aggregation and events at the Grand Parade bear testimony. Chris Everson makes the point that the media and the international press undoubtedly played a huge part in freeing this country. It goes without saying that the black population of this country provided the REASON! It was also interesting to note that the throng of international journalists were almost 100% white.

Make NO mistake, those times were fraught with a peculiar insanity. The tensions, that hatred - 20 years later and we still have a long, long way to go. This is said not to undermine the ENORMOUS strides this country has made, nor to disrespect the fact that for the first time in South African history, the entire nation is FREE.

helgé janssen

1. How important is it to understand the three act classical structure?

Hugely important if you are writing a three act classically structured piece.

2. What are the advantages of this understanding?

One is able to replicate the clichés and appear brilliant to other mediocre minds (of which there are many).

3. Many script teachers emphasize that one cannot break the rules without knowing the three act structure, what are your views and when does experimentation become necessary?

A film is not a building, it won’t fall apart if the foundations aren’t laid properly. Therefore one approaches its construction with entirely different principles.

4. What do you think are the important aspects about directors like Fellini and Godard that breaks with the ‘traditional classical script structure/film?

Neither of these directors break much with traditional narrative structures. Their films are intimately related to the so-called classical conventions and would not work without a knowledge of those conventions that are being ostensibly “broken with”. If you are looking for film makers who really did break away from the so-called classical structures then you should try Sergei Paradjanov, Isidore Issou and Guy Debord.

5. Do you think that the Hero with a Thousand Faces (if you have read the book) can translate into a more experimental film?

Joseph Campbell is being filmed and re-filmed unconsciously, in the collective subconscious of most movies being made. His is the meta-movie constantly being mashed up and remixed in our universal brain.

6. When do script/films become boring and why do you think this is?

After about 5 minutes.
Because they are all the same.

7. If you look at Hollywood there is a particular style, the same with Bollywood. Do you think that SA can develop its own unique style and what would this be?

Claire Angelique has developed her own unique film style in “MY BLACK LITTLE HEART”. That is an example of how to do it. But there isn’t only one film style possible in South Africa. There are many. In order for a truly authentic film style to develop in this country we would need to be able to have film students study film in their indigenous languages. Until that happens all our cinema is colonized.

8. Who are some of writers you admire and why and how do their scripts translate into film?

Jean Claude Carriere
Tonino Guerra

I was very moved by Tonino’s speech that he gave in Rimini on the occasion of Fellini’s death. He described how he used to write for Fellini, always in the kitchen while both of them were cooking. He described how he never ever did a re-write of a script, “Re-writing is for those writers who lack talent.”

tonino guerra

As from 26 February, the new South African comedy, Jozi, starring Carl Beukes and Lionel Newton, will be released at more than 40 cinemas around South Africa. Sneak previews will take place on 20 February.

The marketing of the Jozi been different from other films, with strong online elements that integrate social networking sites Facebook (facebook.com/JoziMovie) and Twitter (twitter.com/JoziMovie), and an interactive website (www.joziethemovie.co.za), all with exclusive content, including video clips and gags from the film. The Facebook and Twitter pages also feature competitions for their respective users, while the website has a unique feature, a “Shout It Out” box where fans can post comments.

Written and directed by Craig Freimond, produced by Anant Singh and co-produced with Helena Spring and Robbie Thorpe, Jozi tells the story of James, a successful comedy writer in Johannesburg who feels overwhelmed by crime, politics, pessimism and a feather duster salesman. When his girlfriend leaves him for a guy who he thinks is the most boring man in the world, he loses the very spark of humour which enables him to earn his living. In a madcap journey, James travels through the highways and byways of South Africa from Daspoort Rehab to Johannesburg to try and recover his elusive sense of humour as well as his ability to love and laugh again.

Other stars in the film include Lindiwe Matshikiza, Jena Dover, Moshidi Moshegwa and Nick Boraine, with a guest appearance by Tobie Cronje.
Jozi has already generated extremely positive reaction from critics. It was described as a funny, absorbing and clever local comedy without clichés and slapstick by Leon Van Nierop of You/Huisegenoot/Drum.

TV Plus’ Doreen Premdev regards it as one of the best local films she has watched in a long time. “I was especially impressed with the actors and the storyline was unique and truly South African.”

Debashine Thangevelo of The Star said, “A traffic jam of converging witty lines in this slice of life comedy that leaves one veering between lanes that straddle tongue-in-cheek humour and surreal drama about surviving Johannesburg”.

Rapport’s Paul Boekooi declared, “The way in which an audience can relate to any film, is essential for its success. It is on this level that Jozi scores high. Anyone living in Joburg can fully associate themselves with what happens to the main characters – whether you like them or not….This is especially reflected in the wacky humour”.
Anant Singh noted that the audience reactions to date had been exceptionally positive. “We are very excited about this. Jozi is a very original story and we look forward to the audience embracing the film and more positive reactions when the film opens nationally.”

Jozi is a Videovision Entertainment release through United International Pictures (South Africa). The film is a Videovision Entertainment production in association with Distant Horizon, Coral Films, T.O.M. Pictures and The National Film & Video Foundation of South Africa.

Hundreds of guests, including the Minister of Trade & Industry Rob Davies, attended the world premiere of the new South African film, Jozi, at Nu Metro, Montecasino on 7 February. A character-driven quirky comedy that reflects the craziness of life in Johannesburg, Jozi generated loud guffaws of laughter throughout its screening.

A Videovision Entertainment and T.O.M Pictures production, Jozi was made by the same team of filmmakers who created the acclaimed comedy of a few years back, Gums & Noses. With the story idea by director Craig Freimond and producer Robbie Thorpe, Jozi gives ample opportunity for actors Carl Beukes, Lionel Newton and Moshidi Moshegwa to showcase their considerable comic talents.

Prior to the screening, producer Anant Singh of Videovision Entertainment spoke about the impact that film had on a country. “We have so many talented young filmmakers in South Africa. The success of District 9 shows how big South Africa’s potential is. But getting films together is very difficult. The fact that government has identified film as a key industry is very important and we are delighted that Minister Davies is here tonight.

“Even more difficult than making films is getting the films into cinemas and getting audiences to come and see them. As local filmmakers we have to compete with Hollywood and Bollywood. Countries like Korea, Australia and the UK have traversed the difficult challenge of developing audiences for their local films. We’re very excited about Jozi – it’s very local and fun and it should have a big potential box office.”

Freimond thanked all his colleagues at T.O.M Pictures and extended “a huge thank you” to Videovision Entertainment. “We wouldn’t be here if it wasn’t for them. Jozi was graced with a focused, dynamic and very special crew. Our editor Megan Gill came all the way from Hollywood to cut the film because she liked the script, which says a lot about her as a person. And I must thank our wonderful actors – to me actors are everything in a film. Lead actor Carl Beukes was with us for 24 hours a day, every day of the shoot.”

Thorpe thanked story consultant Mike de la Hunt and Andy Kasrils who contributed to story ideas. “I would also like to thank Jay Savage at Sony for pulling all the music together. A big thanks to Anant Singh for believing in our little film. Thanks also to Videovision Entertainment producer Helen Spring and to the National Film and Video Foundation, as well as the Department of Trade & Industry (DTI) for believing and investing in South African films. Jozi has been an amazing journey – it was a difficult process and took us a long time.”

Spring thanked the crew and cast. “I’d also like to say thanks to Anant Singh who’s given so many opportunities to me personally as well as to South African filmmakers. Supporting local art is the only way to build a national psyche.”

Minister Davies noted that it was a very great pleasure to be at the premiere of a local film. “Since 2004 the DTI has been supporting local films through its rebate. We’ve seen an evolution since that time and South Africa is beginning to do its own quality films that have audience appeal. In 2008 we tweaked the rebate to lower the threshold and increase our funding. Between 2004 and the end of this financial year which ends in March, the DTI would have provided in excess of half a billion rands to the film industry.

“Rest assured the DTI will do all that it can to continue being a reliable partner for the local industry.” In closing the speeches Singh quipped that it was nice to have a Minister who actually goes to the movies.

Jozi releases nationwide on 26 February.

Skin, the true story of Sandra Laing, the black woman born to white Afrikaner parents during South Africa’s apartheid regime, was the number one film at the local Cinema Nouveau art house circuit on its first weekend of release (22 -24 January), earning R194,151. As at 28 January, Skin had made R288,000.

Directed by Anthony Fabian, the film is on an 11-print release in selected cinemas around South Africa. It is performing very well compared to other films in the same genre. The Oscar-nonimated Yesterday accumulated R150,000 during its first weekend, Disgrace R100,000 and Amelia (with Richard Gere and Hilary Swank) R150,196.

Skin has already won 16 awards from around the world, including the Audience Award for Best Film at the Santa Barbara Film Festival, Best Narrative and Best Jury Awards at the Pan African Film Festival, Audience Award at the Afrika Film Festival, Belgium, Audience Award at the AFI Dallas, Best Feature Film at the Palm Beach International Film Festival 2009, and Circle Audience Award at the Film Fest DC - Washington DC.

British Oscar-nominated Sophie Okonedo, who plays Sandra Laing, was recently nominated for the Best Actress Award at the Black Reel Awards 2010, which spotlight the best African-American performances in theatrical, independent and television films. Skin has also been nominated for the NAACP Image Awards nominations in the Best Foreign Film and Best Actress categories. The Black Reel Awards winners will be announced on 12 February and the NAACP Awards on February 26th 2010.

Skin follows Sandra’s 30-year old journey from rejection to acceptance, betrayal to reconciliation, as she struggles to define her place in a changing world - and triumphs against all odds. Sam Neill and South African-born Alice Krige play Sandra’s parents. Skin is currently screened at the following cinemas: Cape Town - V&A Waterfront Cinema Nouveau and Cavendish Nouveau; Durban - Gateway Nouveau; Johannesburg - Bedford View Nouveau, Cedar Square Nouveau, East Rand Mall (Ster-Kinekor), Rosebank Nouveau, Maponya Mall (Ster-Kinekor), Westgate (Ster-Kinekor), and Pretoria - Brooklyn Nouveau, Wonderpark (Ster-Kinekor). For tickets visit www.sterkinekor.com during the week of release.

The film was produced by Anthony Fabian, Genevieve Hofmeyr and Margaret Matheson, and directed by Anthony Fabian. The film’s release in South Africa is supported by the National Film and Video Foundation (NFVF), The History Channel, Ster-Kinekor, United Independent Pictures (UIP), and Mail & Guardian.
In addition to the movie SKIN, the documentary on Sandra Laing’s life called SKIN DEEP premiered on The History Channel (254 on DSTV) on Sunday January 24th at 20:30.

For more information on Skin visit www.skinthemovie.net

Review by: Mary Corrigall

THE TITLE of the movie refers to the exterior surface of the human body, the superficial manifestation of identity, but the story by no means flits across the surface of apartheid South Africa.

Based on the true-life story of Sandra Laing, a girl of ambiguous racial identity, Skin provides an in-depth look into the effects of a social system which privileged whites.

But, ultimately, it is the irrationality of apartheid that this film brings to the forefront. Born to white parents in the 1950s Laing’s appearance as a black person provided a challenge; not just to her parents, particularly her father who initially questioned his wife’s fidelity, but to the authorities, who battled to place Laing; they couldn’t simply accept that she was a white child when all her physical attributes appeared to contradict this. Such would be some of the quandaries of a system that was based on appearances.

Though a paternity test did prove that Laing (Sophie Okonedo) was in fact her father’s progeny, in the film her identity is a bit of a mystery. It is suggested that Laing’s mother might have taken a black lover. When her father fights for Laing to be classified as white and the case plays out in a high court, a Wits professor is called to the stand and he makes the assertion that the intermingling between the races from early colonial times has meant that most Afrikaners do in fact have “black blood” flowing through their veins - “a throwback gene”, which can surface generations later.

One can only surmise as to how white South Africa must have responded to this kind of declaration, certainly the court case brought to light how difficult, and ludicrous it was to try and create divisions between black and white South Africans when there weren’t any reliable tools to separate the races. In the absence of any scientific method to prove racial identity, any pronouncements were purely subjective. Thus there were no grounds to even support apartheid.

But Skin isn’t simply a vehicle to explore the faulty mechanics of apartheid, it follows a personal narrative, demonstrating the pain this absurd social system wreaked on the lives of people and their families.

Though the story is primarily a long flashback from the present-day, it begins with Laing’s first day at a whites-only high school (presumably she was home-schooled until that point) where her appearance is set to cause problems.

Over time Laing slowly begins to grasp that she is not like other white children. Her parents had chosen to live in a small farming community so as to shelter her from the outside world and the harsh realities of the apartheid system.

Once Laing comes into the open and under the scrutiny of the outside world, she battles to find peace and acceptance. Even when she eschews the white community she has grown up with and chooses to live in the township with her black boyfriend, she never feels at home - her white identity becomes a barrier.

It’s a painful, gut-wrenching tale, but perhaps what is most significant about this story is that it shows the effects of apartheid on a white family - implying that some whites unwittingly became the victims of system that was meant to privilege them.

The story also highlights the contradictions inherent in racism: that its proponents aren’t consistent. This point is best illustrated through Laing’s father, played by Sam Neill, who evinces racist behaviour, yet at the same time is adamant that his daughter not be judged by the colour of her skin.

The emotionally loaded content of this film could so easily have given way to an over-sentimentalised product, but fortunately Fabian and his team of scriptwriters have chosen a more refined delivery, allowing the material to speak for itself.

The result is a thought-provking and moving film of a high calibre. That said, Okonedo’s performance is lacking at times. She is obviously playing the part of a withdrawn character, who, because of her “peculiar” appearance, shuns notice, but she lacks presence. One often feels as if she is on the periphery of the action rather than the central protagonist. Nevertheless it is not say that she doesn’t do justice to the role; her performance is sufficient enough to keep one engaged and emotionally invested in Laing’s rollercoaster existence.

Neill’s New Zealand twang often gets in the way of his performance, but Alice Krige, who plays Laing’s mother,is superb as the conflicted mother and submissive wife. It helps that the scriptwriters have given her a more rounded character to work with.

There is perhaps only one niggling inaccuracy that mars this weighty production. This is when Laing is seen working at a factory after she has just been in line to vote in the landmark 1994 elections.

Aside from the fact that the queues were so long on that day in April 27 that it took almost the whole day for voters to cast their ballots it was a public holiday. This is a negligible oversight and one that undermines the veracity of the story.

However, in allowing the tale to continue, the scriptwriters are able to establish that democratic governance did not provide a quick panacea for the wounds of the past. Certainly for Laing it came too late to restore her family unit.

this review first appeared in the sunday independent

After the introduction of apartheid, the Afrikaans language first became a symbol of Afrikaans nationalism and then one of Afrikaans oppression. But, as Max du Preez argues in this programme, when, in June 1976, the youth of Soweto protested, it wasn’t so much against the language itself, as against its imposition as a language of instruction. This documentary takes another look at the position of Afrikaans today and, in the process, examines the different kinds of Afrikaans that exist. It starts by discussing the true origin of the language, assessing in particular the contribution made by the 19th century slave population of the Western Cape. In the Northern Cape, Afrikaans was forced upon the San people, to the extent that their own language has become almost extinct. Tsotsi-taal also incorporates elements of Afrikaans, as does Sabela, the secret language spoken in prisons. Though the Afrikaans spoken on the Cape Flats, sometimes known as Gamtaal, differs greatly from so-called official Afrikaans, it has an equal right to exist and the film makes a plea for the acceptance of all these variations, which is what makes it a living language. Besides Max du Preez, others who comment include Dr. Alan Boesak, Prof. Hein Willemse, Dianne Ferrus and Mr. Fat of Brasse Vannie Kaap.

Director of Photography: Adile Cook

Sound: Kgotso Pedi

Research: Ethel Williams-Abraamse

Online Editor: Crispin Stopforth

Offline Editor: King

Narrator: Jaqui January

Original Music: Crispiwan

Final Audio Mix: Floris Brand

Translators: Charles Leonard & Ethel Williams-Abraamse

Producers: Faizel Cook & Ethel Williams-Abraamse

Commissioning Editors: Eugene Paramoer & Linky Bierman

Cut to Black Media (for SABC)

On behalf of the producers of the motion picture titled Winnie, spokesperson, Dezi Rorich, stated that the producers, André Pieterse (of e’Lollipop fame) and writer/director Darrell Roodt, recently initiated a meeting with lawyers representing Winnie Madikizela-Mandela. The meeting failed to reach an agreement between the two parties. The position of the producers is that if a screenplay has to be approved by Ms Madikizela-Mandela, then the film based on that screenplay could possibly be jeopardised as the world may question the credibility of the film.

The producers of the Winnie film acquired the film rights to a book published in 2003 titled, Winnie Mandela - A Life, written by Anné Mariè du Preez Bezdrob. To their knowledge, Madikizela-Mandela has not objected to this book.

The producers of the Winnie film were advised that they do not legally require Madikizela-Mandela’s consent in order to produce the film. Nevertheless, they do not intend any disrespect towards Madikizela-Mandela or the Mandela family by not requesting such consent.

South Africa, 2005, 52min, DVcam
directed by Geoff Mphakati & Aryan Kaganof
produced by Ziyanda Ngcaba for african noise foundation
original music score by Johnny Dyani & Lefifi Tladi
director of photography - AK Thembeka
sound recordist - Basiami Bitsang Segolo
sound editor - The Dark Magus
final mix - JA Assagai
edited by doc zabalaza

GIANT STEPS is an Afrocentric approach to Blackness Now!

Dashiki poet Lefifi Tladi guides us on a journey of consciousness, analysing and interpreting the meaning of independence as opposed to freedom. He is accompanied on this radical exploration by the cream of South African poets, musicians, dancers and visual artists, including Zim Ngqawana, Don Laka, Kgafela oa Magogodi, Lesego Rampolokeng, Afurakan, Mac Manaka, Thabo Mashishi, Moshe Maboe, Moeketsi Koena and Motlhabane Mashiangwako. GIANT STEPS is a moving tribute to its co-director, Bra’ Geoff Mphakati, who passed away tragically during the filming of this, his first documentary.

Firstly I’d like to extend a colossal THANK YOU to those of you who have so kindly donated to the film PALACE OF BONE, - we’re slowly getting there and I’ve already found some relief with one financial aspect of post production because of your aid so far.
If you’re still humming and hahaa-ing about my proposal or if you’re unaware of the dealilo joe, below is the pitch as well as some press on myself and my previous films and award wins.

My new film . PALACE OF BONE is written and ready for production end of February / beginning of March to debut at this years GRAHAMSTOWN FESTIVAL.
Its set in downtown Durban, Albert Park side SOUTH AFRICA where the real palm trees still sway and no one gives a fuck about painting the Methodist church.

THE LOOK OF PALACE OF BONE
The film is to be shot by the actors themselves on multi formats including VHS, DIGITAL VIDEO AND STILL CAMERAS AND CELL PHONES. The look and idea behind this is kind of like a post apocalyptic Durban find. I can just imagine spans of recording devices left everywhere and somebody looking at all this footage shot by people in the area of each other and piecing it together to form a strange little tale – a Youtube scattering of probes and flashes of a generations’ lives.

THE PITCH
So after I ME winning the Standard Bank young artist Award thingie for film (see below), I’m still short of cash for production of PALACE OF BONE, about R100 000.00. Durban film office won’t pay out and yes there are a few other tricks up my sleeves however it was suggested to me that I approach friend’s generosity in lieu of private investors red tape and oh boy yes it has come to this. So this is what I’m aiming at.

Donations from R300 will guarantee the donor a PRODUCING CREDIT on the film as well as a special and exclusive copy of MY BLACK LITTLE HEART on DVD. If you live in Durban, you can come down to set and be an extra or a lollipop during filming.

Also if you know of any other film funds, investors etcetera that will pay up within the next month please send on their details as I have to secure equipment and cast asap.

If you would like any other info, my banking details etc contact me at
rant@mweb.co.za.

EXTRA EXTRA EXTRA
ALSO EXPECT THE PALACE OF BONE FACEBOOK SITE UP IN THE NEXT FEW DAYS INCLUDING DAILY VIDEO DIARY ON THE MAKING OF

love and power/
Claire Angelique

more info and tickets here

The first official South Africa/UK co-production, Anthony Fabian’s award-winning film, Skin, premieres in South Africa on 22 January.

Produced by South Africa’s Moonlighting Films with the UK’s Bard Entertainments and Elysian Films, Skin tells the poignant real-life story of Sandra Laing, a black woman born to white Afrikaner parents during apartheid.

The film stars Academy Award-nominated Sophie Okonedo (Hotel Rwanda) as Sandra,with Sam Neill (The Tudors, Wimbledon, Jurassic Park) and South African-born Alice Krige (Persuasion, Deadwood, Star Trek) as her parents. South African Tony Kgoroge (Invictus, Hotel Rwanda) co-stars.

Skin was shot entirely on location in and around Johannesburg and was financed through South Africa’s Industrial Development Corporation, the National Film and Video Foundation of South Africa, UK film financier Aramid, and private investors.

Skin was included in Roger Ebert’s Top 10 Independent Films of 2009 and has won 10 awards on the international film festival circuit. These include: Best Feature at the Palm Beach International Film Festival, Audience Choice Award at the Santa Barbara International Film Festival and both Audience and Jury Awards at the Los Angeles Pan African Film Festival.

Skin was directed by Anthony Fabian and produced by Fabian, Genevieve Hofmeyr (Moonlighting Films) and Margaret Matheson. Simon Fawcett, Robbie Little, Laurence Paltiel, Alasdair MacCuish, Moses Silinda and Hellen Kalenga served as executive producers.

GOOD DAY GOOD PEOPLE with good deep pockets of cash

So my new film . PALACE OF BONE is written and ready for production end of February to debut at this years GRAHAMSTOWN FESTIVAL.

Its set downtown Durban, Albert Park side where the real palm trees still sway and no one gives a fuck about painting the church.

THE PITCH

So after I ME winning the Standard Bank young artist thingie for film, I’m still short of cash for production of PALACE OF BONE, about R100 000.00. Durban film office won’t pay out and yes there are a few other tricks up my sleeves however it was suggested to me that I approach friend’s generosity in lieu of private investors red tape and oh boy yes it has come to this. So this is what I’m aiming at. Donations from R300 will guarantee the donor a PRODUCING CREDIT on the film as well as a special and exclusive copy of MY BLACK LITTLE HEART on DVD. If you live in Durban, you can come down to set and be an extra or a lollipop during filming. Also if you know of any other film funds, investors etcetera that will pay up within the next month please send on their details as I have to secure equipment and cast asap.

If you would like any other info, my banking details etc contact me at rant@mweb.co.za.

atishoo

PALACE OF BONE

An ex stripper with a dead snake, Sadie Frost, overdoses at the PALCE OF BONE whilst giving drug dealer Caterpillar a blow job. He’s too far gone on opoids to notice immediately so when his fellow miscreants try to pry her off his dick, the rigor mortis proves an obstacle. Time is running out as the blue Hindu girl Shazi has just escaped arrest for trying to poison her white grandparents with AntiFreeze at a nearby state old age home and the cops have followed her to POB.

Caterpillar gets arrested and whilst in jail meets Jackie the Chan, an alcoholic pianist who is convinced that Cat is his long lost son.

Out of bail, Cat is told he is being thrown out of the night college he’s attending to get his Standard Eight as he has missed a weeks lessons whilst in jail. Dejected he bumps into Major Pussy, a blind ex Whaler from the Bluff who sells loosies on the corner who he swops a mix tape of 80’s RnB Lionel Ritchie hits in exchange for a packet of sugars.. Cat shoots up the smack but gets the needle stuck in his vein right next to a central nerve that controls the use of his right hand, the writing hand. Meanwhile an Indian Head Masseuse casts a spell on Edith Venter, the visiting patron of the night college and makes her agree to allow Cat back to the college to write his exams.

With no feeling in his right hand, he cannot write the exams, a good excuse if any. Sadie Frost’s cousin, a ragged tooth fisherman visits him at the POB to carry out her last will and testament which leaves Cat with 12 plastic farm animals tied in a Rough Riders condom and a cricket bat that used to belong to Graham Pollock. He also gives him some Ibogaine saying it will help with getting the feeling back in his arm as it is a magic root from the Sudan, used in Initiation rites to make the intiate conquer anything he fears. Cats crew tell him the exams are a waste of time and make plans to paint and sell 3 dozen old Everton eggs that Shazi has stolen from the old age home, for Easter.

Cat takes the exam with his left hand and then wakes up at the POB, ecstatic that he’s passed. He then wakes up in a field of Wildebeest on a row boat in the middle of a lake of lillies. A wannabee ballet dancer practices her steps inside a flat’s courtyard from a book she got at the library whilst Tito the mute saxophonist plays on. Dribbling over a whiskey at Last Resort with his crew, Cat realizes he’s been having hallucinations on the Ibogaine. They all decide to go back to POB as he discovers a couple of rocks in his pocket.

The group sit around and share their dreams for the future, smoking crack. A dustbin man wanders in trying to sell empty quartz bottles whilst a priest prays on the corner for salvation of the area. Nobody believes a word they say.