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All types of films, including short films, should benefit, and a developmental fund should be used to support first-time filmmakers from previously marginalised communities. A Government-appointed Task Group extensively used this report during to draft the White Paper regarding a post-apartheid film industry. In March , the old South African film subsidy system, which was based on box office returns, finally ceased to exist, and an interim film fund became in operation.
Ten million rands were annually distributed among various projects, which included funding for short film-making. In , for example, R , was allocated to the development of short films and R 1,, for the actual production of short films These grants had an important impact on the film industry. A fascinating development is the rise in local short film production. In the beginning of the s films such as Sales Talk and the animation work by William Kentridge; Sacrifice , about the disintegration of an Afrikaner family and Guy Spiller's The Boxer , about white working class fears regarding political change in South Africa, stunned audiences.
Catherine Meyburgh's The Clay Ox , about white South Africans trying to redefine their role in an apartheid society and to come to terms with their heritage, gave new hope for another revival in innovative local film making. During the mid s further developments within the local film industry stimulated the production of especially short films , a significant development in the growth of the local film industry.
By 18 short films and two features were completed by M-NET. This project is a showcase for new talent in this country, and has led to some outstanding short films such as Come See the Bioscope , Angel and Salvation. First-time directors and screenwriters, some of them female, black or "coloured", explored a diversity of themes. Director Khalo Matabane and scriptwriter Mtutuzeli Matshoba, for example, created an award-winning comedy Chikin Biz'nis about the vibrant South African informal economic sector, which provides millions of unemployed urban South Africans with alternative livelihood.
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Regional initiatives further encouraged short film production. Sithengi highlighted an important Pan-African short film initiative, called African Dreaming. The array of six short films is a major co-production, the first of its kind on the continent, which draws on talent from Mozambique, Namibia, Senegal, Tunisia, Zimbabwe and South Africa. Deals and contracts were co-ordinated by one of South Africa's leading producers, Jeremy Nathan, through his company Catalyst Films.
The South African film, Mamlambo , a love story between a black boy and a Chinese girl, gave first-time female and black director, Palesa Nkosi a chance to direct a film. In many ways short film-making in South Africa provides previously marginalised voices a voice Most of the short fiction and non-fiction films during the early s were political texts, which were instruments in the anti-apartheid struggle. Only later during the s other themes were explored by various marginalised filmmakers, for example gay and lesbian equality within South Africa's conservative and homophobic society.
Current post-apartheid cinema is very much a cinema about marginalised people, e. At the 3 rd Southern African International Film and Television Market, as well as at the 22 nd Cape Town International Film Festival the real strength of this post-apartheid cinema was clearly demonstrated. Our short films and documentaries, which have won numerous international awards during and , overshadowed our attempts at feature filmmaking. Apart from the multi-award winner The Man Who Drove With Mandela , audiences were impressed with Zola Maseko's The Life and Times of Sara Baartman , which deals with the tragic true-life story of a young South African woman who was taken to Europe and exhibited as a freak in London and Paris in the early 19 th century.
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Maseko's short film, The Foreigner , a heartbreaking indictment of current xenophobia in South Africa, also won various international awards, including a second prize at the Festival di Cinema African in Milan. Among the other short films, Gavin Hood's The Storekeeper stood out. It is a devastating portrait of the culture of violence in this country. Without relying on dialogue Hood tells the story of an elderly man who owns a small, isolated shop in rural South Africa.
After several burglaries he took the law in his own hands - with shocking consequences. Hood's film won as overall best short film at the Nashville Independent Film Festival. It also won the bronze for best dramatic short at the Houston International Film Festival. The small renaissance in documentary and short films was made possible by funding from the Department of Arts, Culture, Science and Technology. During more than R2 million from the Interim Film Fund was allocated to the production of documentaries. Short films received more than R1 million. Prospects for future feature filmmaking look positive.
The National Film and Video Foundation, which will support and promote the local film industry, was finally established and a council of fourteen members was appointed during April On a regional level, the Cape Film Commission has been established in order to promote and market the film industry within the Western Cape, which has become a vibrant base for short and documentary filmmaking, as well as commercials. But despite the positive changes in the film industry, a new constitution which prohibits discrimination against gays and lesbians, as well as a strong gay movement in the form of the National Coalition for Gay and Lesbian Equality, our images of gay men and women are limited and still on the margin of the film industry.
One ends up with less than ten short films, a few documentaries, less than five features with openly gay and lesbian characters and virtually no television programmes. The remainder of this section on South African cinema deals with these marginal images of gay and lesbian lives. An emerging gay cinema? Under apartheid many voices were silenced and marginalised in the film and television industries: blacks, women, gays and lesbians.
This short film is a moving tribute to two gay South African men, Simon Nkoli and Dr Ivan Toms who were respected internationally for their stand against apartheid. Simon Nkoli was one of the Delmas trialists. The film portrayed what it meant to be gay under apartheid and claimed that the South African liberation struggle is a movement for political as well as gay equality.
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Nkoli was arrested after a rent boycott demonstration in his home-township of Sebokeng and held in custody for two years before being charged, with 21 other prominent United Democratic Front activists, with treason. He became a cause celebre after his arrest: the confluence of his open homosexuality and his imprisonment as a soldier against apartheid made him immensely appealing to liberation-oriented gay organisations around the world. In Canada the Simon Nkoli Anti-Apartment Committee became a critical player in both the gay and anti-apartheid movements.
Gay filmmaker John Greyson directed a short Canadian film, A Moffie Called Simon , which became a confirmation of solidarity with the jailed activist.
Through Nkoli's imprisonment progressive members of the international anti-apartheid movement were able to begin introducing the issue of gay rights to the ANC. The highly respectable Anti-Apartheid Movements of both Britain and the Netherlands took up Nkoli's cause, and this was to exert a major impact on the ANC's later decision to include gay rights on its agenda for a democratic South Africa. By Nkoli was formally charged with murder, but acquitted during the ensuing trail.
It's a moving story of their battle against prejudice in any form, an effort which played an important role in ensuring constitutional protection of gay rights. Even more remarkable is Brian Tilley's It's my life.
Shot over five months, this co-production with France, chronicles the activist activities of Zackie Achmat. He took on the world's largest pharmaceutical companies and the South African government, fighting to ensure affordable treatment for people living with HIV. Initially his organisation, the Treatment Action Campaign, joined the South African government in a court case against pharmaceutical companies hoping to facilitate a legal framework allowing for affordable anti-AIDS medication, but victory in court results in disappointment as our government refused to act on the advantages afford by the win.
Zackie, himself HIV positive, stunned the world by refusing to take medication as leader of the TAC because of his moral convictions: Four years ago he took a controversial stance that he would not take anti-retroviral drugs until our government set up pilot anti-retroviral programmes at community clinics in all of South Africa's nine provinces.
At the time of writing Achmat was treated for opportunistic infections. In a report, Achmat summed up his determination to continue: "I intend living longer than Thabo Mbeki. I don't intend losing this fight Most of his short films were screened at the short film competition of the Weekly Mail Film Festival.
Barros was a third year BA student at the University of the Witwatersrand when he made Pretty Boys , a film about two male prostitutes discussing their lives. The film attempted to explore the possibility of prostitution as a positive experience. Clubbing revolved around six, twenty-something year old friends who meet one evening before they go out clubbing. With the film DeBarros captured the decline of a white ruling class in a society in which the rules are changing. They must come to terms with a future of uncertainty, a future no longer assured of privilege.
Among the characters is an attractive gay male couple, who comes across as three-dimensional characters. They were probably the first non-stereotypical male gays on South African screens. DeBarros' latest short film is Hot Legs , a revenge fantasy, which revolves around Tim, a young gay doctor who wants to take revenge on Dave, a man he once loved, by holding him captive in a motel room for six days. Together the two characters relive their past and look at how they became the people they are.
Although psychological troubled both characters are attractive, non-stereotypical gays. They are not falling in the traps of either being sissies or villains, just two human beings trying to sort out their conflicts within a homophobic society. Since the late s DeBarros is working on a feature on male homosexuality in South Africa, Pressure , but due to funding problems the end result has yet to be seen Jack Lewis One of the most important local gay filmmakers is Jack Lewis who won acclaim for his two oral histories of gay subcultures in Cape Town.
Lewis' A Normal Daughter: The life and times of Kewpie of District Six depicts gay life in the former District Six through the memories and snapshots of the main character, a drag queen.
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In District Six gays were an accepted part of a racially and religiously diverse community. Long before the emergence of the post-Stonewall gay scene in Cape Town life in District Six was open and out. From the main protagonist's hairdressing salon the gays organised elaborate drag balls, cabaret performances and concerts. They colonised clubs, prepared food for weddings and funerals, styled everyone's hair and looked after the neighbours' children.
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Lewis captures this vibrancy lovingly by means of a collection of snapshots and interviews. But sadly, Cape Town's District Six was physically destroyed by the apartheid government in the s. The sense of loss is also sensitively depicted in another oral history by Lewis, entitled Sando to Samantha: aka the art of dikvel.
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The video combines interview material with dramatised footage to reconstruct the life of Sando Willemse, a drag queen, who served in the South African Defence Force until he was dismissed because of his HIV status. He turned to prostitution to survive and found friendship and support in a community of drag queens working Cape Town streets.
He died of HIV related causes in aged 22 years. Lewis allowed Sando to narrate his own story in a beautiful blend of moving personal testimony and subversive commentary on South African politics. Lewis is also the founder of the South African Gay and Lesbian film festival.
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It was always a majority black run organisation. It did not attract many whites.