Encounters: Afrikaaps

Director: Dylan Valley
Cast: Jitsvinger, Bliksemstraal, Blaq Pearl, Emile XY
Year: 2010
Duration: 60 min

Director of Lost Prophets, the talented Dylan Valley returns to this year’s Encounters Film Festival with the well received documentary Afrikaaps. The UCT Honours graduate's documentary film was screened to a full house at the V& A waterfront Nu Metro this week.

I was expecting the film version of the Afrikaaps stage production, which I had not yet seen. Little did I know I was about to get schooled!
The documentary breaks the stereotype and ideologies associated with the language of Afrikaans and the Cape Town coloured community. A language viewed by most South Africans as the language of the oppressor, is exposed to reveal the Khoi San and the Malay as the first to respectively speak and write the Afrikaans language. Just like the mixed nature of the language and the people who speak it, the film combines 3 stories in one. The cast of Afrikaaps’ story, Valley’s story, and the unknown story of Afrikaans are all mashed together to create something ground breaking. These stories are supported by constant reference to an Afrikaaps glossary of terms, the expert opinion of academics, and clips from the stage production.
The underlying message of the film is presented by the repetitive use of a clip in which the Afrikaaps cast sings:
“Kom Khoi san kry terug jou land, coloureds kom van Khoi san verstand”
(Come Khoi San reclaim your land, coloureds come from Khoi San knowledge).

This documentary is essentially is the celebration and re-discovery of culture, language and heritage. As a South African, unaware of the country’s rich and complex history, Valley’s scholastic approach is eye-opening. This film is an opportunity to shift your mind set and re-educate yourself through Valley’s lens.

Encounters: The Battle for Johannesburg

In this very South African documentary about the strained relationships between property developers and slum housed residents in inner-city Johannesburg, we’re taken on a pedestrian view of the “hijacked” buildings where slum lords and thugs charge the extremely poor (read car guards and domestic workers) tenants rent, but use the money collected for their own gains instead of fixing broken windows, plumbing and electricity. The doccie tries to draw some parallels and make social commentary about the government choosing to fix infrastructure in preparation for the World Cup, while a large demographic lived in absolute squalor.
It’s pretty interesting as we’re taken through a series of case studies that are filmed in a refreshingly humane way, versus the usual “gritty” stance that most directors feel they need to take when filming Jo’burg. What’s also great is the fact that we get to listen to both the haves and the have-nots and in this way the viewer is presented with a more robust understanding of the problems that both parties have to deal with on a daily basis. Because of this, dare I say, gentle angle, it manages to humanise some of the property developers who are generally seen as heartless bastards. There’s a particularly lively scene where immigrants voice their opinion on being evicted from a block of flats; and are met by a completely rational and decidedly non-asshole response from the owner of the block of flats in question, which effectively highlights the problem from both sides of the proverbial tracks. It was these testimonials from the tenants of these slum apartments that made the film worth watching -they were quite heart-wrenching and one of the theatre-goers in my screening, burst into uncontrollable sobs when a slum lord insisted that an 8-month pregnant woman be woken up to clean up sewage so that she may earn her stay in the apartment block. It was really great to watch a documentary about our country, where we were enabled to empathise with fellow Saffas who lived without any ablutions, used illegal electricity and feared for their safety and property at every turn, which let’s face it is not a Joburg specific problem. On the flipside, testimonials from supposed experts were mostly trite; particularly the commentary from two gormless human rights lawyers who gestured a lot and used many words to convey their left-wing, bleeding heart stance, but managed to impart nothing of any substance.

Testimonials aside, the pace of the documentary was a bit erratic for my taste with the viewer not really being guided to a conclusion, which could be blamed on the narration. The film visuals were informative, emotional and honest, but then marred by the corny and forced emotional narration which, even worse, was conducted by someone with a displaced South London accent. What a Hackney accent is doing narrating an intrinsically South African documentary is beyond me. Later on, the narrator would make his debut on film, where his annoying narration was matched only by his smarmy on-screen presence.

So, basically, besides that guy and a few useless comments from “experts” it was a really honest documentary with uncontrived visuals and a message that wasn’t instructional. That’s possibly/probably because the documentary itself was a little confused with the point it would’ve liked to make, but it did leave you to think about the state of our country and fellow South Africans who live in sub-human conditions. I don’t know that this is going to win any international awards, but I do recommend you see it anyway if just to see how the other half lives, regardless of which half you are.

By Niki - Jay Bougaard

Encounters: Mario and The Rude Boys

The cape flats were, undoubtedly, one of the sections of the Mother City that was left off the tour during the world cup. “Mario and the Rude Boys” is a powerful film that draws on the context of the 2010 Fifa world cup, exposing the stark contrast between the Cape Town that tourists see, and the one that is hidden away from them. It is a devastating account of life on the cape flats. This 52 minute documentary tells the tragic stories of five young men who battle with the legacy of hopelessness that has spread throughout their community.

Enter Mario van Niekerk; with nothing but the power of positive thinking and a dream, he reaches out to these men and others like them, showing them that gangs and drugs are not the answers to their problems. Directors, Michael Bardsley and Ayla Hilli, do not sugar-coat the hardships endured by Mario and his community. Instead, they force feed the reality to us using the compelling narrative in conjunction with a raw soundtrack and shocking imagery of youths taking drugs. The cumulative effect is incredible; we become so engrossed in the lives of the subjects of the film that we cannot help but feel their desperation. But surely it is in the darkness that light shines the brightest; shots of young people playing around with a soccer ball, and Mario’s many success stories give us an optimistic feeling that perhaps these young men can turn their lives around.

This film has the hardness of “Ross Kemp on Gangs” and yet it is as emotional as an episode of Oprah. Although “Mario and the Rude Boys” cannot be faulted for its candidness, it cannot be praised for its originality either. The subject matter, while gut-wrenching, is nothing new to the South African audience. This should not stop anyone from watching the documentary, however. It is definitely a must-see for every resident of Cape Town. Chalk up another winner from the Encounters Film Festival.

by- Keelan Joshua

Safe Sex: You Bruise you lose

SAFE SEX

Condoms are so 1999!

We believe in safe sex.... No disease no pregnancy and god damn it no injuries!
...
So wrap and Strap up because shit's about to hit the fan! It's that time again, a week away from holidays and once more a super steroid super Film Society event looms on the not too distant horizon.

Due to the considerable amount of swing which Film Society possesses in political circles, we have had a chat to our friends in local government and have had Friday officially declared as a public holiday! This fortunate turn of events leaves no other option: a blow-out on Thursday night is imminent! But a safe one! So bring your pads, bring your knee guards, helmets, boxing gloves, shoulder pads, ball boxes and sports bras because it's about to get mighty Dangerous (Wadup Darkwing Duck!)

We promise an Extra steroid filled evening with
FREE VODKA
FREE MOJO
EPIC MUSIC!
and lots of protection....
So grab your helmet, grab your pads and grab tail and brace for the lace!

BOOYAH!!

Oh and Free entrance for those who dress to the theme

Photo's aren't enough!

What a night!
What a Team!
What a Society!
I know you all had an extra steroid filled time last week and we thought you'd remind all your beautiful little faces about how much fun it was with a video recap of the evening. Enjoy!

In the womb.

Sins of My Father

Pablo Escobar – the name incites images of secret jungle hideouts, lavish lifestyles, and overweight Spanish men doing lines of cocaine off large breasted, topless women. If that’s what you imagine when thinking of the notorious Colombian drug lord, then Sins of My Father is probably not going to satisfy you.

This documentary, forming one of the many fantastic films on offer at the Encounters film festival, explores the Escobar saga from the perspective of his family that were left to face the aftermath of his collapsed empire. More specifically the documentary follows the journey of Sebastián Marroquín (formerly Juan Pablo Escobar) son of Pablo and now exile of his native country. The film is essentially a story of redemption, as Sebastian seeks to reconnect with the sons of politicians, murdered in the wake of the intense violence inflicted on Colombia by the Escobar Empire. Filmed over the course of a four year period, the audience is witness to the emotional journey Sebastian embarks on, culminating in the climactic moment of meeting between him and his father’s former enemy’s son’s. Having been granted special access to the family’s personal archives, the documentary offers a rare glimpse into the personal life of Escobar, from home video’s of parties at the Mansion to a voice recording of the drug baron himself singing nursery rhymes – who would have thought?

I enjoyed the raw, ‘unpolished’ nature of the documentary. The incredibly moving footage that was captured over the four years, combined with original tapes of the family, meant that very little extra production value was needed. Some may criticise the film for losing momentum somewhat towards the end, although those are probably the people who were expecting more cocaine and strippers. In the end, the documentary offers a unique perspective on Escobar’s reign. If you want to do something ‘cultural’ with your Sunday evening – go watch this film! It will be showing for the third and final time this weekend at the V&A.

Still the Best Technikon ever!

So UCT drew with Maties in what was an epic spirited affair which saw David versus Goliath or maybe David versus Egg, i don't know, Hockey's not safe, metal balls flying at you at the speed of light, now you know what it feels like to be a prostitute in an Android freqenting Whorehouse....
Anyhoo here are the results and photos of this wonderful affair

Fetal Balling.

Accesory Whore part 2

Bang!

Accesory Whore is back and here are two fantastic Wallpapers for you stick on your desktops....

Bang!

Encounters: Afrikaner Afrikaan, according to a young Afrikaner

“Afrikaner Afrikaan,” directed by Rina Jooste, explores the disorientated anger of today’s Afrikaner. Deon Maas, Sean Else and Johrné van Huyssteen – three prominent Afrikaans personalities with three very different ideals for their culture – put their heads together around the microphone of the RSG studio. In turn, they broadcast their selected songs. In three segregated streams, they take us on a musically guided tour of the intricacies of the uniquely out-of-place Afrikaner. This ungoverned people are searching for a common identity. For a culture fresh from the boots of the oppressor, this may prove to be tricky. Stick to the past, and the culture becomes isolated and dies off. Leap forward, and it loses its heritage. Catch 22. Johannes Kerkorrel, Koos Kombuis, Laurika Rauch, and Fokopolisiekar all play their part. Bok van Blerk’s De La Rey, however, plays the front man. This song has caused mixed reactions, even amongst the Afrikaners. For some, it is an outcry for a leader. Others, like Maas, feel that a healthy culture must be dynamic, without having to wallow in nostalgia, or bring to life ghosts from the past.

Afrikaner Afrikaan is not an aesthetic masterpiece, to say the least. Its subtitling is quite crude, but otherwise its coarseness reflects the rawness of the documentary. Initially, it struggles to gain momentum, but eventually, the pace picks up as emotions start to show. We see desperate attempts to reconcile, to forget and remember, to hold heads high, and to maintain a fading pride. This, while the young - who seem to have been included in the film simply for the sake of inclusion - have long moved on, bursting with zest. Cringing and goose bumps alternate, and so did the reasons for bursts of laughter in the audience.

Admirably, Afrikaner Afrikaan avoids elegantly the easy trap of self-pity and fixation in political deliberation. But as a whole, it is unconvincing. It barely skims the surface of a people much more intriguing than boerewors and the dominee. The old Afrikaner body has collapsed, its parts scattered, and Afrikaners must now find an innovative niche in the friendly hostility of the New South Africa. The fresh face of Afrikaans does not consist of middle-aged couples doing the langarm at the Voortrekker monument. But Jooste would certainly be pleased to know that it is constituted of a much braver, more liberal, and equally passionate generation.

It's really not safe out there...

South African's continously complain about the state of crime in our wonderful tower exploding country, it may be a reality, but it's a problem throughout the world, ask Antoine Dodson.

I love Brick-Making!

For the last 3 months it’s seemed as if South African’s across the nation have ripped off their shirts and bared their bosom and shot champagne from their nipples to irrigate the fields of awesomeness which now nourish the much improved South African: now with more gees.

And we at UCT Film Society and the UCT Hockey Club feel it’s high time to celebrate this, UCT is the best University in the country and I feel we should acknowledge this and celebrate this. But we shouldn’t be selfish in our celebration, let’s celebrate the other best institution, Stellenbosch Technikon, which in our opinion truly is the best Technikon ever.

UCT play the fine technikon on Thursday night at the Hockey Club and we want you to be there to help irrigate their fields of awesomeness with your awesomeness. Fireworks shall decorate the sky and the woodwork studio’s of Stellenbosch to bring us the best evening ever with the best technikon ever.
As usual there will be a bar with lovely beverages, if you’re a Film Society member, we promise to get you lubricated and hydrated. And if you’re not a Film Society member bring a dictionary to the game and we’ll get you lubricated and hydrated.

So bring Dictionaries, wear blue, grab a vuvuzela and let’s roast some nuts, this time we not only play for pride but for Social Awareness let’s get out there and show the world that Stellenbosch really is the best Technikon ever.

Twilight: Eclipse

Title: Twilight: Eclipse
Directed By: David Slade
Written by: Melissa Rosenberg
Starring: Taylor Lautner, Xavier Samuel, Kristen Stewart and Robert Pattinso

Applaud, applaud! Applaud the saga that denies actresses their jobs, provides screenwriters with a backseat and allocates cinematographers jobs for the first two minutes – The Twilight saga: Eclipse.
WARNING spoiler alert: Edward Cullen (Robert Pattinson) and Bella Swan (Kristen Stewart) are in love. Edward is a vampire; Bella is a human. This is the grand narrative derived – as in New Moon and Twilight. Aside from this, the narrative of Eclipse offers slightly more in terms of Jacob Black (Taylor Lautner) – the werewolf who forms the third point of a love triangle. With a simple narrative one expects dialogue or cinematography of spectacular standards to explain the success of the movie. Overall, this is not the case – although there are moments of notable proportions.
A sequence of the film one may go so far as to call “impressive” is found in the opening sequence where epileptics should beware as the jilted movements and suspense-filled music may induce an attack. This leads one to expect a thriller to follow. As the film continues random clapping and unwarranted gasps of the audience follow – often owing to the scantily dressed Jacob. However, boredom may inhabit those who appreciate quality displayed in, for example, Queen of the Damned or Interview with a Vampire as opposed to the popularity around the teen melodrama.
Relief ensues as the unease between Edward and Bella subsides somewhat for slightly more substantial acting. There are few comedic moments that relieve the teenage angst which tended to dominate the predecessors in the saga. This makes the previously agonizing interactions of Edward and Bella more bearable. Characters are altered and seem less two dimensional – although this simply improves from dismal to acceptable.
Not only does Summit Entertainment feel a change of director is necessary for each instalment of the saga but roles also changed hands: Rachelle Lefevre who previously played the well-hated yet well-loved Victoria has been replaced by Bryce Dallas Howard. As you read this, psychologists are reporting increased cases of depression in “Twihards” world-wide.
Although Eclipse won’t (or shouldn’t) receive a nomination for Best Picture – aside from the Teen Choice Awards – it should be noted that David Slade, the latest director of the Twilight saga, did well to produce a mediocre movie of what tended to be a tedious book. Critics were worried that Slade, who had only previously undertaken Hard Candy and 30 Days of Night, would incorporate too much action. However, fight sequences are integrated such that the film shows more for its success than mere hype. As a result female and male (generally forced to attend) viewers alike are entertained.

Funds once dwindling, one assumes from Jacob’s lack of attire throughout, have certainly been recovered with the movie surpassing $30 million on its international midnight release on 30 June 2010. Such figures continued in the week that followed. Hence one should look forward to the improved wardrobe department in Breaking Dawn Part A – the final book will be separated into two parts. It is scheduled to be released in November 2011.
Thus applaud, applaud!

For if you don’t the “Twihards” will find you.

I give it two Hoers

By Aimee Minnozzi

Black Diamond!

South African's are pretty hectic, I'd know, because I am one and well, I'm Hectic.
Every once in awhile the Rainbow nation pulls something out of its ass that makes us all feel warm and fuzzy inside, Like Caster's shower Cap or Colin Moss retiring from the entertainment industry.
Here's another example to make you feel so damn Proud!
The Back Heart Gang's amazing short film "the Tale of How" is a gem and a wunderbal visual feast a reminder of how far and amazing our local industry is.
To see more films check out there website:
http://theblackheartgang.com/

Yung.

Themba he’s a friend of mine!

Stefanie Sycholt brings us the highly anticipated “Themba A boy called Hope” It promises to be one of a tear jerker filled with betrayal, intrigue, courage and extra steroids. Straight off the 2010 FIFA World Cup Fever it should boast as a more than sufficient remedy to your Hangover and make you feel all rosy inside about the future of our lovely colourful, football kicking nation.
Watch it!
Now showing at the Labia on Orange

Nolan Nails it.

Title: Inception

Directed by: Christopher Nolan
written by: Christopher Nolan
Starring: Leonardo DiCaprio, Joseph Gordon-Levitt, Ellen Page, Michael Caine

The first time I saw Simba lifted into the air, watching Derek battle Hansel in a walk-off, witnessing a spaceship above Soweto; these are some standout moments in my cinema experiences. I can safely add Nolan’s latest masterpiece to that list. Inception delivers from all angles with a lightning-fast pace and intelligent plot.

The film jumps right into the action, not wasting any time establishing premises or needlessly explaining how it is that in the world of Inception it is possible to enter other people’s dreams. With this in mind, the film develops into a classic heist film, with the obvious exception that it’s all taking place within a person’s dream. What follows is a visual orgasm of mind-bending action sequences and an incredible scene involving DiCaprio, Page and an exploding downtown Paris. The pace of the film is maintained extremely well and by the time the climax is reached you have completely forgotten that you’ve been sitting on your chair for a considerable amount of time.

It’s truly refreshing to see a big-budget film come out of Hollywood that isn’t either a sequel, remake of a popular TV show from the 80’s or a dumb formulaic action/comedy directed by Bay/Bruckheimer. Inception is a completely original piece of cinema with a plot that hasn’t been dumbed down for the masses. If you enjoyed the non-linear puzzle which was Nolan’s earliest major film, Memento, you will love this movie.

I give it 9 Hoers

Rob Scher

Cera again and again.

Title: Youth in Revolt
Directed by: Miguel Arteta
written by: Gustin Nash; C.D. Payne
Starring: Michael Cera; Portia Doubleday; Jean Smart; Zach Galifianakis
Formula for indie flick: Confused/angsty looking Michael Cera, Edgy Wes Anderson-esque cinematography, and obscure soundtrack usually featuring a song by Cera himself. Essentially you have Youth in Revolt. Enjoyable for those who appreciate a chequered lumberjack shirt and own several logography cameras.
Based on a novel of the same name, the film follows the story of Nick Twisp, played by Cera, an intelligent, awkward kid who’s passionate about Frank Sinatra and desperately seeking the love of his life. Insert irresponsible mother and trashy boyfriend, with cameo from Hangover star Galifianakis, and inevitably hilarity ensues. What follows is your typical story arc, boy meets girl, falls in love with girl, makes horrible error in judgment, redeems himself with grand gesture.
The film falls a bit flat at parts, with arbitrary auxiliary characters that randomly appear (see Justin Long) but makes up for this with a fantastic schizophrenic manifestation of Cera’s character, the unforgettable, Francois Dillinger. Other notable moments include some fun, oh-so-trendy animated cut scenes. If you enjoyed watching Ellen Page fall pregnant, Cera’s infinite playlist, or being ‘a misunderstood soul on the fringe of society’ you’ll enjoy this film.
I give it 6 Hoers
-By Rob scher

Mwah!

Title: Kisses

Dir: Lance Daly

Written By: Lance Daly

Starring: Kelly O'Neill; Shane Curry; Paul Roe; Neilí Conroy

Kisses is a sweet, edgy coming of age film set on a tough housing estate in Dublin. The narrative follows two youths, Kylie and Dylan, in their ambitions to escape their abusive, caustic, foul-mouthed domestic environments. Aided by Dylan’s furious and abusive father, the two escape the slums to find Dylan’s brother and run away to the city with no plans, direction and a wad of money.

Their reasoning like their appearances is sweet and met by the colourful smorgasbord that is Dublin and set off on a magical dark journey the magic is hsort lived as uncle tickles and the gang arrive and the rainbow goes dark blue, the money runs out and it get a wee bit cold. Forcing Dylan and Kylie to rely on each other and suck face.

The film is very dark and sweet, kind of like a pitbull in a Dior coat, the city of Dublin pulsates against the innocence and naiveté of Dylan and Kylie making their journey more fascinating and terrifying. It’s a sweet romance decorated with the harsh realities of Post-Modern Dublin sprawling with disturbing characters, spaces and consequences, yet there’s a sincerity to it which makes it wholly enjoyable and engrossing. Daly does a superb job as a Director and uses a colour saturation motif which works phenomenally to colour the two different worlds of the housing estate and Dublin, making for a cinematic delight which pulls at both your hearts strings and testicles. Groovy Debut!

I give it 6 Hoers

Fetal Balling.

Dogs, Dawgs and Douches

Title: Victory to the Underdog

Director: Brandon Bond

Documenatry

It’s always nice taking a dog from an animal shelter. It makes you feel like you’ve saved the life of another living creature, which contribute to the warm fuzzy feeling in your belly. Seeing the eyes of some poor, lonely, often abused animal on death row evokes a certain amount of compassion in most people’s hearts. Taking them to a warm home where they can essentially have another chance at life and raising them to be good animals would certainly count as a good deed for the day. Making a movie about how much of a great person you are for helping the animal is significantly less awesome.

Vicktory to the Underdog is about Brandon Bond, a famous tattoo artist who rehabilitates some of the American Pit bulls that were used for dog fighting. The documentary tells us about how Michael Vick, an American Football star was caught with an illegal dog-fighting ring. We are then introduced to Brandon Bond, a total douche, who does tattoos. Bond tells us how rough his younger years and what a badass he supposedly was, it’s really not moving at all. He says society demonises tattoo artists and Pit bulls alike, and that is why he can relate to them. Cute.

That is not the only comparison though, in fact Victory to the Underdog is filled with metaphors, each more suitable then the last. Bond likens the preference of certain dog breeds to racism. It really is terrible that dogs are dehumanised in that way. Dogs aren’t people Brandon, that’s also why I don’t think your comparison to the way that society treats Pit bulls can be compared to Nazi Germany. I actually found that one pretty offensive.

On a serious note I think Brandon Bond is probably the biggest douche in the world. I have never seen anybody in my life that thinks that he is more of a hero than him. At one point in the film he even says, “I’m the good guy. I’m not used to being the good guy” he then speaks about how he was such a rebel and continues “it’s uncomfortable for me, but a nice change”. What Bond does is a good thing, but the nature of charity and doing the good deeds is that you aren’t supposed to tell people. When you go around telling people about your amazing heroism it loses it’s value.

But don’t get me wrong, it’s not all bad, the dogs are really cool. I’m not even a dog person and I left the theatre desperately wanting to visit the SPCA and pick up some poor homeless pooch.

Sadly, I don’t really have much to say. It’s filled with adorable quotations that make chapters and it has badass music, unfortunately Brandon Bond’s egotistic nature casts a shadow on all that is good.

Don’t rush to see it, but if you love dogs and want to watch a film that will use the money you spent towards charity then go for it.

4 Hoers

Jimboweni