Film Review: My Brother’s Keeper

Nomelezi V. Ntshimba as Tshepo and Miranda Mokhele as Dimakatso in Lehlohonolo ‘Shaft’ Moropane's My Brother's Keeper (2014)

Nomelezi V. Ntshimba as Tshepo and Miranda Mokhele Ntshangase as Dimakatso in Lehlohonolo ‘Shaft’ Moropane’s My Brother’s Keeper (2014)

{If} you are going to make a film about a narrative whose juice has been exhaustively squeezed to the point of dry bone snap you will be a miracle worker to find anything new to say. Lehlohonolo ‘Shaft’ Moropane’s My Brother’s Keeper (2014) is one such a film. It’s a love tragedy. Is there anything that anyone can do with this theme? This is an attempt. I invite you to be the judge

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Film Review: The Gift

Thembi Seete as Bontle Shona Ferguson as Thabiso in The Gift. Image source, http://citizen.co.za/wp-content/uploads/sites/18/2014/11/Page1A_2-599x400.jpg

Thembi Seete as Bontle Shona Ferguson as Thabiso in The Gift. Image source, http://citizen.co.za/wp-content/uploads/sites/18/2014/11/Page1A_2-599×400.jpg

FOR the most part, our society, through the family as its nucleus, pretends that everything is ok while secretly suppressing the nature of reality as is. The family is caught up by a yearning for opulence as a mark of prestige and progress or the wish itself to have more, by far and large the in-escapable feature of modernity. Often awesomely this situation, the acquisition of material comfort that is, is erected to the ire of those closer to home, our family members. If it does not breed jealousy that drives a wedge between siblings it draws us together artificially due to the material benefit boons it heralds

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dEF’Rating: The Gift

Thembi Seete as Bontle Shona Ferguson as Thabiso in The Gift. Image source, http://citizen.co.za/wp-content/uploads/sites/18/2014/11/Page1A_2-599x400.jpg

Thembi Seete as Bontle Shona Ferguson as Thabiso in The Gift. Image source, http://citizen.co.za/wp-content/uploads/sites/18/2014/11/Page1A_2-599×400.jpg

The Gift continues the Ferguson’s crusade on their close scrutiny of our contemporary South African family when it is pitted against the demands and expectations of the world’s prying eyes. We’ve seen this concern in their telle novella, The Wild and their consistent drama series’ offering Rockville. The present work is shot with the same camera work intimacy characteristic of Rockville and the invasion of privacy approach or allow me to refine an expression I have used just now – ‘prying eyes perspective’ that has become characteristic of their work signature. There are moments you feel like you’re eaves dropping on what is being said or spying on what is happening when you view their work. While this film’s narrative is unoriginal, it is the flair with which perspective is given to the cracks of Motaung’s family as an organism that propels the film to stand its own ground in the annals of South African films; the work is freshen up in the way the cracks themselves are revealed and teased out from unexplored perspective. This perspective is the very deep seated conviction on how one sees and locate themselves within the family nucleus. The Ferguson’s The Gift delivers an interesting 4dEF’Points out of Five: ♦ ♦ ♦ ♦ /

Autumn

 

26 April

© Mmutle Arthur Kgokong 2015

mmutleak@gmail.com

follow @mmutleak

Teenage Mutant Ninja Turtles 5

THE latest installment of Teenage Mutant Ninja Turtles (TMNT) colourfully busts out of the darkened sewers as the ninja’s are drawn out into the big wide world with a racy action packed flow that will hold the attention of diehard fans of this franchise for an unoriginal battle with their arch nemesis Shredder and his minions. Thanks to CGI tech when the present pumped up martial art weapon wielding versions of the favorite reptiles and humans interact on screen there is a little difference that gives way that you are actually not watching real turtles.

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Film Review: Ingoma

There is clearly nothing remarkable about the plot of Ingoma, the new Mzansi Magic’s (DStv Channel 161) Original Film which premiered on 1 February. However it is the musical originality in treatment of its plot, as a performance text, in the hands of talented lead actors that foregrounds its nuanced message. Ingoma is a story about a talented young woman, Constance Dladla (Zola Nombona) an ardent Uhadi – a musical bow – player, who wants to break it into the music industry by auditioning for a lead backing Vocalist gig for an established musician. Raised by her single father Reverend Dladla (Timmy Kwebulana), following her mother’s passing, she has to perform house chores first before she ventures into the world.

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Film Review: Rise

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Xolile Tshabalala as Fezeka Dlamini in a scene from Rise, image source – http://mzansimagic.dstv.com/2015/01/07/original-mzansi-magic-movie-rise/#

This is a tale about an idealist educator who arrives at a very low morale school in Alexander and takes it upon herself to try and change the attitude of the learners. I couldn’t help but think back to the early nineties when I underwent my high schooling years and wondered how our teachers made it without wifi hotspots and such, although we did have a laboratory which was utilized fully, but the internet was a myth of sci-fi proportions and our educators oozed with gusto and love for their calling. Fezeka Dlamini(Xolile Tshabalala), an orphan, is a university graduate with a science degree, actually an arsenal of them as we learn later. Her altruistic deeds pushes her to opt to give back the learners of the school she is posted to since she herself was fortunate to be given the opportunities she’s had

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Sanku Patrick Bokaba’s The truth in flames

LIKE a forgotten conquered beast that suddenly emerges from the rubble of obliteration to remind us that the fight must go on nostalgia is a soundtrack that accompanies our affairs. One simply has to look at how within the various artistic forms nostalgia is used time and again to lobby either the cinemagoer’s interest in the upcoming films that reprises themes dealt with previously or nostalgia as a referent within the visual art object to reinforce the subject matter from another perspective. What we are familiar with is imported to new works and by so doing we throw into acute relief new visions that we may be preoccupied with at certain pints of our lives as consumers, collaborator and conceivers of cultural artifacts. Perhaps this, it may stand to reason, that without it – the cultural text that may be under our delightful scrutiny or horrid criticism will lose its appeal, its efficacy. The work may not talk to us. It will wither away.

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