Crimes of Past and Present: Common Theme at Durban Film Festival

The 45th Durban Film Festival fittingly kicks off on Nelson Mandela Intl. Day, honoring South Africa’s first Black president who played a crucial role in ending apartheid and leading to the country’s first democratic elections 30 years ago.

Three decades on, South Africans are reflecting on the progress and setbacks since that audacious transition to majority rule. While significant strides have been made to redress apartheid-era inequities, challenges like rampant crime, high unemployment, and corruption persist. This discontent culminated in the African National Congress (ANC) failing to secure a majority vote for the first time since coming to power.

For many in the country, the 30th anniversary of democracy is a time for soul-searching. “South Africa is the most unequal country in the world,” says Tara Moore, whose documentary “Legacy: The De-Colonized History of South Africa” opens the festival. “The question is, why does it remain that unequal if we have democracy? Why does that inequality persist if in ’94, by law, everything is supposedly equal?”

Moore’s documentary delves into the brutal policies of colonial and apartheid eras that disenfranchised over 80% of the population. It illustrates how apartheid-era laws like the 1913 Natives Land Act kept Black South Africans from owning land and building generational wealth, leaving lasting economic disparities. While the ANC has struggled to rectify many injustices, Moore points out that apartheid created the inequalities in the first place.

Diana Keam’s “Don’t Be Late for My Funeral” explores apartheid’s legacy through a personal lens, focusing on her relationship with her domestic worker and nanny, Margaret Bogopa Matlala. “It felt important to lean into the uncomfortable conversations and show how much my family benefited from her strong presence while her own children grew up miles away,” says the director. The film underscores the intertwined lives that span the pre- and post-apartheid divide, showing that issues like racial divides persist despite democracy.

Another highlight is Naledi Bogacwi’s “Banned,” which chronicles the apartheid-era action film “Joe Bullet” and broader censorship efforts. The documentary explores how the apartheid regime aimed to suppress not just political dissent but also the everyday lives and aspirations of Black people. Similarly, Craig Tanner’s closing film “The Showerhead” follows political cartoonist Zapiro, illustrating the continued fight for individual freedoms under majority rule.

Under apartheid, any positive representation of Black people was suppressed, notes Bogacwi. Ironically, despite the progressive changes in South Africa, the carefree depictions of everyday life remain rare in contemporary cinema, reflecting ongoing inequalities and an uncertain future.

Dinner party conversations in South Africa often turn to crime, highlighting the pervasive sense of insecurity. Crime themes also dominate many films showcased at Durban. Mark Engels’ “Masinga: The Calling” tells the story of an Interpol inspector navigating geopolitical stakes rooted in his native KwaZulu-Natal, while Terrence Aphane’s “Sonti” and Adze Ugah’s “Sierra’s Gold” similarly explore themes of violence and risk.

Ugah, originally from Nigeria, came to South Africa to study film and found a thriving industry in the post-apartheid era. “The eyes of the world were on it for what it could do in the filmic space,” he says, reflecting on his career growth since moving to the country.

Aphane’s journey from a poor village in Limpopo province to the big screen demonstrates the opportunities afforded by democratic rule. His debut feature, “Noon to Sunrise,” gained a following through a YouTube channel, while his latest, “Sonti,” brings to light the harsh realities and unexpected turns in rural South Africa.

Kagiso Sam Leburu’s “Month End” offers a lighter take, portraying vibrant township life through the exploits of young slackers eluding a loan shark. Despite its comedic tone, the film portrays the same backdrop of youth unemployment and rampant criminality that casts a shadow over much of everyday life.

The Durban Film Festival, which runs from July 18 to 28, highlights not just the enduring scars of apartheid but also the resilience and creativity of South Africa’s filmmakers, who continue to tell compelling stories that resonate both locally and globally.

Source: Variety