“The journey was bringing Hollywood films and series to international audiences through new ways of distribution,” Netflix’s Larry Tanz tells me during our interview at a swanky hotel in Sandton. 

“By looking at what else audiences wanted, local storytelling and audiences seeing themselves on screen became our mission. That was the leap of faith we took when we decided to commission our own films and series globally.”

Tanz — coincidentally wearing similar casual grey pants to mine — is Netflix’s vice-president of content for Europe, Middle East and Africa. Seated next to him is a tall man in blue jeans and formal shirt — Ben Amadasun, director of content for Middle East and Africa.

After firm handshakes and introductions, the room is immediately filled with laughter and reflections on Netflix’s journey in Africa. 

The two executives are here to engage with stakeholders, including talent, producers and media.

As they entered the conference room, it started raining, with a cooling breeze to end the persistent heatwave. It hasn’t been all sunshine and rainbows for this pair, though. 

As rain represents blessings in most African cultures, I ask them about the successes — and challenges — of the African market since Netflix’s expansion to our shores in 2016.

Regarding the South African market particularly, Netflix’s strategy was to bring a blend of local and global entertainment. 

“We know South Africans love their own stories and that, along with a really robust offering of films and series from all over the world … brings this incredible value, variety and quality that our members can stream in a taxi in Johannesburg or watch on their beautiful big-screen TV in their living room,” Tanz says.

The decades of management experience and passion between the two is evident in how they complement each other’s responses during the interview. 

I ask them how they got the formula correct with record-breaking original shows such as Blood & Water and the How to Ruin Christmas franchise, among others.

“That’s the killer question!” Tanz says, chuckling. 

Internal management from the African regions, historical data and having great local productions has proved to be a winning strategy for African markets, they say.

However, Tanz argues that data alone is not enough. 

“The data is great for looking backwards but it doesn’t help in a creative business to clearly inform what stories we should make moving forward,” he says. 

“In a creative business, if you try to repeat what you did before, you are probably not going to be successful, so it’s a constant reinvention.”

Amadasun echoes Tanz’s point that Netflix is a learning organisation. Organisational learning — a concept found in many business textbooks — contends that companies should be open to acquiring new skills to modify their internal processes to deliver innovative products and services.

By applying this approach, and adapting to changing markets, Netflix is constantly positioning itself as a flexible corporation, they say. Since expansion to the mother continent, it has had to learn about the different languages, cultures and aspirations of its audiences, though.

Amadasun weighs in to state that understanding local culture is an important strategic consideration. 

“We are always trying to understand the landscape, languages, traditions and the real culture of people,” he says. 

“That is why we have internal executives from the African continent who want to see themselves on screen. We have also been working with the local creative storytellers in the country to really get the stories that people love.”

Like other countries on the continent, South Africa has many different languages that need to be considered to offer a broad representation of stories. 

“We have been intentional to make sure that productions are happening all over the country,” says Amadasun and cites the likes of Johannesburg-based Burnt Onion and Cape Town’s Gambit, along with Durban-based African Lotus and Stained Glass, as producer partners who have given that all-important authenticity to South African storytelling.

“We learn as we go along. As we learn, we try to serve our members even more,” he says. 

“Why we are a unique company is how well we focus on that local market in the way the stories appeal to our members in that country. Not many companies are able to do that, not only in Africa, but across the whole world.”

Netflix’s appetite to learn is indeed miles ahead of global streamers Amazon Prime, who recently pulled out of African markets. This will hopefully give Netflix — and competitor MultiChoice’s Showmax — more opportunity to invest heavily in local talent and stories.

It is such growing competition and market understanding that has seen Netflix lose subscribers globally in recent years. 

However, through innovation and more pointed local content, the global streamer has maintained its competitive advantage. 

What impact, socially  and economically, does Netflix have on African markets like South Africa though?

Between 2021 and this year, Netflix has invested about R4 billion in content and local creative ecosystems in South Africa, Nigeria and Kenya combined. It has supported the creation of more than 12 000 jobs, generated R5 billion towards GDP and funded economic activity that has generated over R786 million in tax revenue since 2016.

As the pair shares these notable numbers, there is light thunder in the background.

Tanz and Amadasun argue that such investment ripples out to have a broader impact than just on filmmakers but takes in other service providers such as production-equipment suppliers, drivers and stylists. 

Tanz adds they have noticed the government’s economic, reconstruction and recovery plan identifies tourism as a huge economic driver.

“Millions of people who had never seen a South African story five years ago, now have seen a few,” Tanz says. 

“We have also demonstrated with some research that people who watch a South African film or series are significantly more interested in the food, culture and travelling — thus inspired to visit South Africa.”

Tanz also spoke about the impact of the Wits Digital Equity Grant. He shared about one film student who, during her graduation ceremony, said she was helped by Netflix’s funding initiative at a time when she struggled to pay for her tuition. 

“It’s a real story that she told. She gave me goosebumps. The most gratifying thing for us is hearing these graduates coming through and working on Netflix projects. 

“Ultimately, it is about making a living in the industry.”

Besides the growth in countries such as Nigeria and Kenya, the two executives affirm that South Africa is their focus at the moment. 

“We are going broader and deeper. We are broadening our offerings of non-fiction, unscripted format and doccie-soapies because we know our audiences love watching those,” Tanz holds. 

“So, it is not a radical shift, it’s about getting better and broader. We are meeting our audience where they are, with a better understanding of their preferences.”

In an African environment, with a high level of digital inequality, high data costs and cultural differences, many global companies have failed.

Netflix’s localisation strategy has, however, proved to be a winning recipe for continuing its mission to entertain the world. 

Its efforts stretch beyond entertainment for subscribers and work opportunities for local filmmakers  to a much-needed social and economic impact.

From scholarship opportunities to master classes, internship opportunities and partnerships with local industry stakeholders, Netflix is committed to finding opportunities to grow the talent in the local production ecosystem.

Like a child learning how to talk, act and interpret their surroundings, in its eighth year in the African market, Netflix is still fervently learning, taking creative risks and aiming to impact one household at a time.

Yet, women’s struggles and their strength to overcome such, is a daily occurrence with the film industry. 

Be it behind or in front of the camera, and even in management positions, women in the film industry are constantly having to challenge the patriarchal barriers.

Historically, women have been significantly underrepresented in key roles such as directors, producers and writers. 

In her work as project manager at the Gauteng Film Commission, Nthabeleng Phora advocates for female and youth empowerment in the industry. 

In an interview with the Mail & Guardian, Phora said significant strides have been made in recent years, the film industry is still a challenging environment for women.  

Phora says she overcomes the hurdles in this male-dominated setting by being intentional and resilient to achieve gender equality and transformation. 

“This passion comes from appreciating that I am given an opportunity through my employment to serve the industry,” she says. 

“By implementing programmes that address the challenges we can generate solutions and present opportunities.”

Multi-award-winning film director Sihle Hlophe manages to overcome the challenges in a number of ways. 

“Failure and rejection do not define me — they’re part of life — so I’ve been working hard to be kinder to myself when I go through those difficult experiences,” she tells me.

Hlophe argues that consistency and hard work are very important, in spite of the inimical working environment. She adds that an entrepreneurial mindset has allowed her to create opportunities for herself when it seemed there were none.

Establishing networks in the industry is also important. Hlophe mentions fellow film writer Busisiwe Ntintili, who often creates opportunities for young writers. “She did that for me when I was an up-and-coming writer many years ago.”

Noluthando Rotwane, the founder of the She Fest, also aims to create platforms for women in a thorny film industry. 

“To tell the truth, I don’t think I have been able to overcome any part of the male domination in our industry yet,” she concedes.

However, through the festival, Rotwane is well on her way to creating a sustainable economy for women in the creative industry. 

“Maybe in a year or two I’ll be able to say I have overcome the challenges I have constantly faced with being in a male-dominated industry.”

In its second year, She Fest —which took place earlier this year at Constitution Hill in Johannesburg — is an event celebrating the talents of women in the creative film industry. 

“The festival was inspired by the need for an intervention in the creative industry,” says Rotwane. 

“There was a lack of job creation and opportunities available for women in the industry.”

Besides challenging societal and cultural norms, women in film face numerous other challenges, according to the National Film and Video Foundation of South Africa. 

In its 2018 report Gender Matters in the South African Film Industry, the foundation highlighted obstacles such as gendered financial barriers, male-dominated industry networks, stereotypes limiting creative expressions and sexual harassment.

Lack of trust and undermining of women’s abilities behind the scenes was also an issue. 

Since then, slow and small strides have been made to raise awareness.

Although advocacy groups such as Women of the Sun and Women in Film and TV South Africa no longer exist, Sisters Working in Film and Television (Swift) has taken up the baton. 

A non-profit organisation, Swift is committed to championing empowerment and access to equal opportunities for women in the film industry.

In studies conducted by Swift, respondents noted that sexual advances by male colleagues were normal in the workplace, despite the disinterest of the women concerned. 

Other respondents said they had been non-consensually touched and were the victims of inappropriate hugging, butt slapping and “accidental” contact. 

A safety contact officer programme to counter sexual harassment is one of the strategies Swift uses to address the safety of female filmmakers in the work environment.

It is sadly such misogyny that limits the creative contribution of women to the local film industry. 

Hlophe advises female filmmakers going through such mistreatment to not be afraid to stand up for their rights and to contact organisations such as Swift.

“Don’t let anyone tell you that you can’t do something — there’s nothing you can’t achieve if you set your mind to it,” says Hlophe. 

“We all need to work together to make sure this industry is a safe space, free from sexual exploitation, harassment, and all the negative aspects that come with patriarchy.”

Phora concurs that women should know they are not alone and they should speak out. 

She not only encourages female filmmakers to constantly craft their unique storytelling voices but also stay updated with the latest trends and policies in filmmaking. 

Since its birth more than 100 years ago, the South African film industry has been male dominated with women underrepresented. 

However, the contribution of female filmmakers is growing. Empowerment of women in the industry is key for economic growth and social impact. Therefore, voices that reject the ill-treatment of women in the film industry should always be amplified.

The literary industry is no exception. The 19th South African Literary Awards took place this past weekend at the Ditsong National Museum of Cultural History in Pretoria. Several South African writers, translators and other literary practitioners across 16 categories were honoured at the ceremony.

One of the big winners of the night was Sihle Qwabe for his debut novel The Resurrection. 

Qwabe walked away with the esteemed K Sello Duiker Memorial Literary Award. 

In an interview with the Mail & Guardian Qwabe said, as a first-time author, the award is a great validation 

of his work: “It is an assurance that my work matters, and someone out there is seeing and celebrating that.”

The Resurrection is not only a captivating read, exploring the complex dynamics of family legacy and wealth, but also highlights the trials and triumphs of township people. 

In a world of drug trading, money laundering and nightclubs, the family-run business The Zulu Club is under threat.

Set in the streets of Sotobe township in Johannesburg, the story involves Bantu Zulu and his wife Charity, who must protect their three sons — Hector, Victor and Blessing — from this hostile environment.

Years later, Charity, Victor and Hector’s widow Busie work towards restoring the club to its former glory. 

However, Fana, Hector’s best friend, and his criminal associates, Bra Stixx, The Mexican and Bra Joe, pose an obstacle as they too seek a piece of the Zulu family legacy. 

With his first draft completed in 2018, Qwabe had obstacles to overcome as a first-time writer: “It was only in 2020 that I found out that what I called a manuscript was nothing more than a joke,” said the KwaZulu-Natal-born author. 

Not knowing much about writing, or the sector he desperately wanted to be part of, he was selected for the Jakes Gerwel Foundation’s writing mentorship programme. 

Through commitment and having the right people in his corner, Qwabe’s dream of writing a compelling novel became a reality. “Award-winning” is proudly a welcomed title. 

Growing up, Qwabe’s love for story­telling was inspired by his grandmother, a retired teacher. 

“As kids, she used to read to us in the evenings — mostly Zulu novels and short stories — and the book that was imprinted in my mind forever was Iphisi Nezinyoka by MM Masondo. 

“I remember revisiting that book when I was a bit older, and how I still enjoyed it. That is what drove me to tell stories.”

Qwabe’s exceptional and relatable storytelling explores themes of family legacy and generational wealth in a township context. 

He decided to set the story in a township to demystify and celebrate what are often seen as places filled solely with poverty and crime.

He argues that most township-born people believe that progress in life means leaving the township. 

“I believe it’s all in the mind. The Resurrection is about taking pride in where you are from, and building on that, instead of just turning your back and calling it progress.

“It’s also about a family working together to achieve a common goal, especially these days when we see so many families failing so dismally.”

Qwabe also explores the strength of women to protect their families and their wealth. 

For instance, the mother, Charity, and daughter-in-law, Busie — both widows — show resilience, ingenuity and guts in a patriarchal township environment where women are used and abused.

Through these female characters, Qwabe says he wanted to celebrate his mother and sister: “I was raised by strong women who loved and supported me all of my life. 

“I also wanted to show that it is possible to be both feminine and strong. I know I’m skating on thin ice with this sentiment but I am not impressed with how strong women are portrayed these days.”

With snack-sized chapters, The Resurrection is a thrilling tale of mystery and suspense, danger and daring. It deserves many literary awards, locally and beyond.  

Other accolades in the novel category went to SJ Naude for Van Vaders en Vlugtelinge, Barry Gilder for At Fire Hour, Jabulane Johan Ncongwane for Lifa Letilima, Sithembile Mputa for Unyana Wolahleko and Kabelo Duncan Kgatea for Tsamaya Sentle “Tata” Mandela.

The Nadine Gordimer Short Story Award went to Dawn Garisch for What Remains.

The Literary Translators Awards went to Misokuhle Nyathikazi for Ntofo-Ntofo, Michiel Heyns for The Dao of Daniel, Vonani Bila for Khanimamba N’wantlhadyana na Mbila and Eben Venter for translating his own book Decima from Afrikaans into English.

Author, activist and former ambassador Barbara Masekela won the Chairperson’s Literary Award.

Local and international film festivals become an alternative for some. 

Global film festivals offer many opportunities. These include not only exposure to a wide audience, but also networking, distribution deals, funding and collaborations, according to independent filmmaker Anele Geqiwe.

In an interview with the Mail & Guardian, Geqiwe says that beyond pitching to big screens and streaming platforms, festivals outside of South Africa allow filmmakers to showcase their work to a diverse audience, including industry professionals, critics and distributors.

“Festivals also provide a platform for creative exchange, where filmmakers can learn from their peers, explore different markets and gain insights into global trends in cinema,” Geqiwe says.

Pretoria-based independent filmmaker Vuyani Bila agrees that international film festivals offer the fastest way to a global audience and market. 

“Film festivals are still a huge player, regardless of the new Video On Demands in the market,” Bila says during an interview.

However, like many other South African indie filmmakers, Geqiwe and Bila experience challenges when applying to world festivals, such as the competitive submission processes and the steep costs. 

Geqiwe says because there are many filmmakers competing for limited spots, standing out is crucial.

Apart from finding festivals that align with his projects, he adds that meeting the festivals’ strict requirements and language barriers makes the process demanding.

For Bila and his team at Arts Sake Productions, the biggest challenge is funding applications. 

“You wouldn’t guess it, but applying to different festivals around the world adds up,” he says. 

“Since you are applying in a different currency, usually the dollar, festivals that are worth their salt typically charge around $60 (roughly R1 000) at early-bird stages and, later, fees could go up to $125.”

Bila says the cost of submitting to festivals mount up if you try to cast the net as wide as possible to give the film a good run on the festival circuit.

“You could end up spending R30 000 to R50 000 on applications alone. Depending on the festival, some might pay for you to attend while, for others, you would need to invest in attending, which is also another cost on its own.”

Bila has been behind the camera for films such as To IKE, Farm Boy and Bad Bishop. The thriller he directed, Face Deep, received nominations from prestigious film awards such as the Liverpool Indie Awards and this year’s Luminar International Film Festival.

Earlier this year, the film also won at the Cuckoo International Film Awards in India. 

“I attended digitally and did a speech and presentation of the film via Skype to a theatre full of people. 

“By God’s grace, later that day, it was announced that Face Deep had won Best International Feature Film. 

“This was a huge honour for me and my team as we were against other great filmmakers from across the world.” 

Apart from his debut film Life Happened, which is streaming on Amazon Prime, Geqiwe is also pleased with the success of his most recent project, which is showing at global film festivals. 

Quantum, starring Bohang Moeko,  premiered during the Namibia Film Week last month. 

The film will also be showcased at the New York African Diaspora International Film Festival.

“We shot Quantum in just 10 days around Cape Town, on a shoestring budget, so the recognition means a lot to everyone who helped bring this vision to life,” says Geqiwe. 

With more than 60 films from 30 countries, the 32nd Annual African Diaspora Film Festival is set to take place from November 29 to December 15.  

Its programmer Lerato Bokako says: “Quantum stood out for its exceptional storytelling, powerful themes and artistic excellence. 

“We believe this film will resonate deeply with our audience and significantly contribute to the cultural dialogue that we aim to foster through the festival.”

Despite the challenges, Geqiwe and Bila praise the creative freedom that comes with being a South African indie filmmaker and the ability to tell unique, often underrepresented stories, free from the constraints of major studios.  

Both filmmakers emphasise the importance of having an entrepreneurial mindset. 

This helps not only sustain indie filmmakers’ careers but also teaches them how to leverage the opportunities provided by international film festivals. 

Be it Cannes, Sundance or one of the numerous other festivals, these platforms offer indie filmmakers a chance to showcase their work to wider audiences.

After their father — CEO of Spear Industries — is found dead in the sugarcane fields of KwaZulu-Natal, they must work out how to maintain the multibillion-rand corporation.

The road towards family union and the preservation of generational wealth is stained with secrets and sabotage. The siblings are bulls pulling in opposite directions due to their stern differences in principles and aims.

However, one scene — a spectacular shot of the siblings washing their father’s blood off their hands — prompts hope for the rebuilding of family bonds. 

Sister Khanyi wants reform and ethical leadership to reign supreme in the family empire.

The tailor-suited Mandla —adorned with entitlement as the first-born son — leads cunningly but with an iron fist. 

In one scene he admits: “I am a man of many strengths but people skills are not one of them.”

The baby, Siya, toes any line his big brother and sister set for him. 

He tussles with decisions about his marriage, parenting and sexuality. 

Ndlangamandla’s acting, however, was not my favourite, due to his pervasive nonchalant style. He came across as someone who had no interest giving in a great performance to match the star-studded cast, which also includes Pallance Dladla, Dawn Thandeka King and the legendary Treasure Nkosi.

In one of her final appearances, the incomparable Connie Chiume, who died in August, delivers a powerful performance as the family matriarch, always in grand dresses. 

Whether having such a formidable cast is a pro or con for Blood Legacy remains to be seen. It’s as if the producers were pitching for a prestigious global award or film festival by putting their best foot forward. 

If that was the case, then the isiZulu, widely and correctly spoken by the majority of the cast, will showcase the royal language in a great light on global stages.

Actors like Mdladla, Tshabalala and Bonga Dlamini make superb  use of numerous isiZulu idioms in their dialogue. Sello Maake KaNcube’s command of the language was better than the butchering he gave it in the drama series The Herd S1.

Throughout the 20-episode mega-novella, Blood Legacy’s editing feels rushed, failing to establish some characters and their motives. For instance, Enhle Mbali Mlotshwa’s sudden acquisition of an American accent midway through the series threw me off the couch.

The fact that it is a remake of the Mexican series Monarca was the biggest snag for me. Watching Blood Legacy and Monarca was like seeing identical twins with different clothing and voices.

There is no doubt multi-award-winning Gambit Films can make great original productions. This is evidenced in Netflix’s second original African series, the teen drama Blood & Water, which borrows real-life elements to inform its success. 

Similar to Blood Legacy, Gambit’s 2023 Unseen is a remake of the Turkish series Fatma. 

The question of originality always crowds my mind when I see local production houses adapt and remake stories from foreign lands. Do we not have enough scriptwriters in this country? The South African literary pool also has ample stories that can be adapted to thrilling works on screen. 

Sure, broadcasters might commission production companies with specific briefs and strategies, but to what end for the viewer? Do we not deserve world-class entertainment based on original penmanship?  

There are however some differences — Monarca revolves around a family tequila business, whereas in Blood Legacy it’s sugarcane.

This layer — aided by great cinematography — gives local and global viewers a glimpse of the beauty of KwaZulu-Natal. The high-quality shots of sugarcane fields and Durban coastal scenery with Moses Mabhida Stadium on the skyline gives it a unique feel.

Apart from sibling rivalry and generational wealth in black families, other issues the series deals with include corruption, toxic family bonds, queer love and social media.

More ori.ginal African content from the global streamer remains a resounding plea from this critic

Netflix secured 53 nominations, for shows such as Miseducation, iNumber Number: Jozi Gold and Yoh! Christmas. 

At the MIP Africa event in Cape Town, the streaming service offered an exclusive look at its upcoming local productions.

Ben Amadasun, vice president of content for the Middle East and Africa, said: “We are incredibly excited to continue strengthening our relationship with our production partners in South Africa and bringing diverse and authentic local stories by local storytellers to our local and global audiences.”

The new shows include the recently added drama series Blood Legacy, the soon-to-be-released romantic film Happiness Is and festive season film Disaster Holiday, premiering in December.

African streamer Showmax, astoundingly, bagged 118 nominations — the most by far of any streaming service — at this year’s Saftas, which are scheduled to take place next month. 

A recent addition to the streamer’s original content is the legal drama series Law, Love & Betrayal (LLB). The 13-episode series follows a tough township lawyer, Gugu Mabaso (Dineo Rasedile), who forces her way into a slick, family-owned firm in Sandton, where she finds that everyone has secrets — just like her.

Due to the popularity of some original series, Showmax and its local production partners have announced second seasons. Those scheduled to be extended include Empreinte Digitale’s Spinners, Tshedza’s Outlaws and The Bomb Shelter’s Shaka Ilembe. 

Set in the 1700s, the latter tells the story of the heroic rise of the Zulu king. The premiere set a DStv record of four million views, with the series going on to become the most googled in South Africa last year.

Though less frequently, the big screen also plays its part in telling local stories. 

The latest addition is the drama Greytown Girl. Based on real events, the film is a heartfelt, poetic piece about love, parenting and heritage.

It is the tale of Meena’s (Sanam Sitaram) life as an Indian woman living with disabilities. 

A suitcase filled with memories transports us to Greytown, in what is now KwaZulu-Natal, in 1960 apartheid South Africa, where Meena shares her story of self-realisation and self-love. 

Making her acting debut, news broadcaster Uveka Rangappa plays Devi, Meena’s mother, and Veer, her father, is played by veteran actor and activist Jack Devnarain. Their decision as parents to send Meena to an orphanage provides an emotional conundrum for viewers.

In his socials, Devnarain asks us a pertinent question: “Could you give up your own kids, even if it was for their good, no matter how much you love them?”

Due to questions such as this, Devi battles with regret and shame but shows a deep love for her daughter.

Rangappa left TV news in August 2021 to pursue other work but acting was not part of her plan. It was after some convincing by the film’s producer Rani Sitaram that she accepted the role of the mother.

In an interview with the Mail & Guardian, Rangappa tells me that  tapping into deep emotions was a bittersweet experience for her as a first-time actor. 

“I suppose being a mother already made it a little easier,” she says. 

“As a working mother, you’re always filled with guilt and regret — thinking you’re not doing the best job or giving your kids the best. 

“Some emotions never go away once you have kids.”

In the scene where Meena is left at the orphanage, Rangappa says she cried for real. 

“I thought of something that made me feel sad and, just as they were about to bring ‘fake tears’, the emotion took over and the tears came.”

She praises director Darrell Roodt and Devnarain for their guidance during the shoot. 

“Devnarain helped me feel the character by discussing how each of our characters must be feeling and would react in the different situations. I fed off him a lot on set.”

Produced by East Coast Media, Greytown Girl is a remarkable South African story told with utmost grace. Its context is local but the love story through the romance of letter writing has global appeal.

Though centred in the Indian community, the film highlights the intersections between history and other cultures of our country. The kind-hearted Sister Biyela (Linda Sokhulu) at the orphanage, for instance, adds Zulu layers to the film.

Such stories are vital in the effort towards social cohesion and empathy. Rangappa is hopeful that we will  see more stories like this make their way onto our screens and into books.

“We know our country’s difficult past — we hear how various races and cultures experienced it — but I think people are tired of seeing it told through ‘struggle stories’, so they don’t have the impact they once had.” 

She adds that a simple love story, like Greytown Girl, breathes refreshing life into our country’s history. 

“We need to see how all kinds of relationships and friendships suffered or developed through, or despite, that difficult, dark period. 

“Those are the stories that bring hope and can be adapted to help us through whatever difficulties we are living with in modern-day South Africa,” she says. 

Greytown Girl is showing in cinemas nationwide.

“I’ve always loved the genre of crime comedy,” says its writer and director Ari Kruger during an interview with the Mail & Guardian. “So it was a huge honour to be the first production company to be commissioned by Amazon to make a feature. I am eternally grateful that they green-lit this crazy project and that it now exists in the world.”

Crime comedies such as Guy Ritchie’s Snatch, the Coen Brothers’ films, and recent Australian films, have had a big influence on his tone and style for this project, adds Kruger.

“I similarly have had a fascination with the South African underworld, which is a treasure trove of absurd stories, larger-than-life characters, and clumsy hits gone wrong,” he says. “I felt like there was an opportunity to explore the danger of our underworld through a more comedic lens and hopefully offer audiences something fun and fresh.” 

Shot over six weeks last year between June and July, The Shakedown not only offers great visual craftsmanship but is a dangerously funny flick. The film centres on a medical aid broker, Justin (Carl Beukes), who gets mixed up in the Cape Town underworld after his mistress threatens to reveal the secret of their affair.

Like his role in 2010’s comedy Jozi, Beukes’s easy abilities to portray a zippy character is great to see on screen. In The Shakedown, we follow Justin on a series of hilarious misadventures trying to maintain his golden boy reputation.

In the opening scene, for instance, plans are hatched to chop up a body to get rid of evidence. To fix his mishaps Justin seeks street solutions from his small-time gangster brother Dovi (Emmanuel Castis).

Casting the two lead brothers was difficult but fruitful, Kruger tells me. “For Justin, I needed a leading man who could do comedy as well as bring likeability to an unlikable character. It was a huge win when Carl auditioned and an even bigger one when I discovered that Carl and Emmanuel were old friends.

“They had a natural chemistry which they brought to the screen which was everything, and more than I hoped it would be.”

To help his brother, Dovi summons his inane henchmen duo, Clinton and Mickey, to carry out the “shakedown”. A case of mistaken identity and barking up the wrong gangster family tree, their plan offers viewers a thrill and comedic experience.

Kruger says he had previously shot a short film called Waiting for Goldman, which features the same characters, Mickey and Clinton.

“David Isaacs played Clinton, so I invited him back to play the role. When the original actor of Mickey became unavailable, I offered the role to rapper Jack Parow, who I knew from having directed some of his music videos and also knew him to be funny.” The role of Justin’s wife Natalie is played by Julia Anastasopoulos. In this film, Anastasopoulos shows an acting range different from her popular characters Suzelle and Tali.

“I cast Julia in the role of Justin’s wife Natalie because she’s not only my wife but one of the best comedic actresses in the country.”

The cast of South Africa’s top comedic talents includes Kurt Schoonraad and newcomer Berenice Barbier who plays the mistress, Marika.

Kruger co-wrote this film with long-time friend and creative partner Daniel Zimbler. Their lenses and pens certainly offer viewers a thrill of idiotic gangsters, gambling rabbis, frustrated wives and Boer mafiosi.

Co-founded by Kruger and Anastasopoulos, the award-winning production company Sketchbook Studios has created fun-filled content such as the SuzelleDIY and Tali’s Diary series. Though last year’s storms in Cape Town were the biggest challenge during shooting, Kruger and the crew remained flexible and committed to the project. “Making episodic TV is much harder than making a feature,” he explains. “The preparation that our previous work has given me put me in a much stronger position to tackle my first feature film.”

Due to the film being commissioned by a global streamer, Kruger adds it came with more financial support compared to their previous projects, which made the process wonderfully seamless.

“I’ve never had to shoot so much action before, which meant finding the time to have prep with the actors to try and get the beats right.”

The intriguing script and high-quality cinematography have given The Shakedown both local and global appeal. 

Amazon Prime Video launched its local service in Africa in August 2022. Though boasting a sizable collection of South African films, Prime Video’s strategy for developing original local stories is rather vague.

Many filmmakers and viewers were surprised when in January this year the streamer suddenly announced it would be cutting funds for the African and Middle Eastern market, barely two years into its expansion.

Despite these issues, Kruger welcomes the opportunities streaming platforms have given the local film and TV industry.

“There’s never been a better time in South Africa to be making films and TV. The streamers have opened up the doors to South African filmmakers to make their work with bigger budgets as well as offer access to a global stage.

“There is also more openness with audiences globally to watch content coming out of unexpected territories and I believe South Africa has a unique offering in our stories, characters, and tone to compete on an international level.”

As a hybrid genre, crime comedy combines the danger of the crime genre and the hilarity of comedy with some layers of dark humour. Viewers are captivated by the misfortunes of dim-witted criminals foolishly executing serious criminal acts often leading to comic results.

The Shakedown ticks all the boxes. It nestles between other local features such as The Umbrella Men, Paradise Stop, Big Nunu’s Little Heist and Skeem. Though highlighting universal themes such as infidelity within marriage, family relations and promoting healthy lifestyles, what sets The Shakedown apart are the Afrikaner mafia shades within a South African Jewish community.

“I think our South African-ness is our unique currency,” says Kruger. He adds that historically local audiences seem to have had an allergic reaction to seeing ourselves on screen, yet ironically, we also really want to see ourselves represented.

“I think it’s a delicate balance of how we present ourselves which doesn’t feel too close to home or cringe. I would hope that with The Shakedown, we’ve offered audiences an entertaining way to experience our nuances, humour, and unique characters while housed within the safety of genre.”

For international audiences, Kruger not only hopes the film will intrigue, delight, and surprise, but “that the narrative of the story sweeps them away and entertains like it would with any other international film”.

Rightfully, the very same baie dankie was often heard this past Saturday night at KykNET’s 2024 Silwerskerm Awards for Film and Television, which took place in Cape Town amid spectacle and glam.

The ‘Afrikaans Oscars’ celebrated the work of individuals behind and in front of the camera in 50 categories. Showmax’s comedy series Koek was one the night’s biggest winners.

Confirmed for a second season in 2025, Koek has been one of the 10 most streamed Afrikaans series on Showmax since its re-launch in February 2024. Of the six nominations, Koek won four awards: best actress (Cindy Swanepoel), best actor (Jacques Bessenger), best supporting actress (Sandra Prinsloo), and best supporting actor (Dawid Minnaar).

Wyfie — also a Showmax original — took home best newcomer for Mienke Ehlers, and best supporting actor in a telenovela or soap (Marguerite van Eeden). Comedy drama Som van Twee, starring Louw Venter and veteran James Borthwick, was the most-awarded film, bagging seven crystal cameras, including best direction to debut director Simone Pretorius.

Lifetime achievement award recipients included Binnelanders’ Hans Strydom, actress Denise Newman and TV producer Roberta Durrant.

Holding people hostage in a fraught effort to save a loved one is still the golden thread holding the plot together. The sequel is also a story of how unconditional love, loyalty and sacrifice can move mountains. 

After her father Thami Radebe (Kagiso Modupe) is released from prison on medical parole, Lerato (Nefisa Mkhabela) will do anything to ensure they are not parted again.  

This desperation to help her ailing father leads to dramatic events reminiscent of Denzel Washington’s 2002 John Q., in which his character has to find an organ donor. 

Due to audiences’ tendency to compare local films to American ones, originality becomes a contested topic. 

Hollywood aside though, Losing Lerato 2 does bravely make its point as an action-drama feature. It fits the mandate: heartfelt moments and unbreakable bonds between characters who fear losing each other, laced with dramatic tension.

The sequel continues to delve into societal issues, such as fatherhood. 

Also serving as executive producer, Modupe’s concept for the two films was inspired by his strained relationship with his own father. 

In this sequel, Thami is older, slower and accepting of his imminent death. Though he doesn’t take centre stage, you can still empathise with his hard-knock-life character. 

Reconnecting over cake and stok sweets (lollipops) after missing key milestones, the father and daughter relationship tugs at the heartstrings.  

In a country where some men rape and murder women, including their daughters, deep father-daughter bonds such as Thami and Lerato’s are sunshine in a cold world. Fatherhood is no walk in the neighbourhood park, though. 

The two films portray a different kind of black father, not often seen. Thami’s commitment to his daughter — imperfect as it is — is testament that not all fathers are sperm donors doing Olympian sprints away from their responsibilities. 

However, Losing Lerato 2’s flaws taint both one’s watching experience and appreciation of the first, classic film. For viewers who haven’t seen the first, flashbacks offer some context and continuity. 

Generally, in filmmaking, flashbacks are not only meant to offer clarity and meaning but also create mystery about a character’s past, for instance. The use of flashbacks in this case however is aplenty. 

One is not even deeply stirred to see the previous film because all has been revealed. Worse, though, there are flashbacks in the sequel of scenes one has seen a few minutes ago. 

The best use of this plot device is when Thami reads his daughter’s letters, accompanied by voiceovers of a child maturing into a young adult. 

The casual carrying of a gun — mostly with one hand — by Lerato is another unconvincing and baffling element of Losing Lerato 2. 

Are guns not supposed to be a bit heavy and daunting, especially for someone who has never used one before? The easy gun-wielding and tapping on the head seem unrealistic. 

The police detective scenes outside the hospital are also feeble — or perhaps I have watched too many international cop shows to fully appreciate director Zolani Phakade’s talent. 

The anomalous Xhosa script written by Dineo Langa, who also plays Joyce Grootboom, was a miss. I preferred her natural Setswana in last year’s crime-thriller Unseen. 

The lamentations of Dr Xolani (Aubrey Poo) about office romances, as an attempt at character depth, fail to either elevate the story or offer compassion to his character and that of the others held hostage at a hospital. 

I couldn’t fully empathise with their fears and their realisation that they might lose their lives.

One of the film’s brighter parts was seeing new faces on the global-streamer screen, such as Skeem Saam’s Lerato Marabe and Kea Leburu. 

The veteran Zolisa Xaluva, who portrays the minister of health, or “Daddy Chief”, had me in stitches as the script realistically reveals a self-absorbed political leader.  

The stellar cast also includes Samela Tyelbooi, Mapaseka Koetle and Nolwazi Shange. 

Losing Lerato 2 touches on matters reflective of our country: the failing public health sector, with added pressure from load-shedding, and the abuse of power by political elites regarding organ transplant issues. 

The question of sacrifice and desperation remains. What would you have done if you were in Lerato’s situation? When pain, anger and fear have clouded decision-making faculties, what better choices would you have made to save the one you love? 

The film’s dramatic and emotional excursion is launched and concluded with original music in the form of — K.O’s On The Way. 

Produced by Madupe’s Bakwena Productions, Losing Lerato 2 is an average addition to the South African action-drama genre. Whether it will receive multiple accolades, as its predecessor did, remains to be seen. Whether it deserves them, is another question, of course.

Movies such as Happiness is a Four-Letter Word, Tell Me Something Sweet and White Wedding were box-office hits with local audiences — at least in pre-Covid times. 

Although revolving around the same old hackneyed plot — boy meets girl, they fall in love but then face obstacles in their happily ever after — the mass appeal of this genre is undeniable.  

“I think rom-coms are appealing on a global stage, in general, and not just locally,” says celebrated screenwriter Katleho Ramaphakela in an interview with the Mail & Guardian. 

“It’s probably the one film genre that can be universally understood, because, at the end of the day, most people understand love and yearn for it in some shape or form. 

“Add a little humour to stories about love and you have the right recipe for perfect escapist viewing.” 

Alongside his siblings, or fellow “cooks”, Tshepo and Rethabile Ramaphakela in Burnt Onion Productions, they have been dishing out relatable stories since its inception in 2008. Movies such as Entangled, Seriously Single and the popular How to Ruin Christmas franchise have captured audiences. 

“I think viewers probably don’t always want to experience their harsh realities on screen as well. We have news programming for that. So, rom-coms essentially tell stories of hope which is, in a way, uplifting,” Ramaphakela adds with a smile. 

Fascinated by stage plays, this award-winning TV producer and writer’s love for storytelling started in primary school. Years, and an accounting degree later, he started acting professionally, which re-ignited his passion for TV and film.

You might remember Ramaphakela as Neo in Backstage and Sifiso in Isidingo: The Need.  

Curiosity drove him to learn more about the process behind the scenes. 

“When I started getting involved on the acting side of it, and saw how much work and effort went into it all, it made me fall in love with the idea of telling stories.”

Lobola Man is the most recent serving on the Netflix dinner table from the production company’s stewing pots, with Ramaphakela as the head chef — writer and producer — of the film.

Lobola Man is about Ace (Lawrence Maleka) a slick lobola negotiator, who faces his toughest deal yet when hired by a shy client Duke (Sandile Mahlangu) — only to find the stakes are higher than cash. 

The film is a comical cocktail reminiscent of 2005’s Hitch and 2015’s Wedding Ringer, with a zesty dash of South African flavour. 

As lead, Maleka holds the overall film with prowess and charm. 

Akin to Alex, the character played by Will Smith in Hitch, Ace is a professional smooth talker and love cynic confronted with the ultimate challenges of falling in love and of commitment. Catching feelings is a definitive crime in his line of business. 

Temporary relationships that fade to fantasy are what Ace has mastered in bachelorland. This anti-marriage stance is not uncommon, among men and women alike. 

Single, and even married, men are troubled by wounds inflicted by their fathers’ infidelity. Existing in a setting where husbands, uncles and fathers blatantly neglect their marriages and families for a moment’s pleasure in a dark room breeds a kind of resentment and cynicism. 

Sons and nephews grow up with a distorted view of marriage and associated elements, such as lobola. For some, the expectation for grooms to pay exaggerated dowry to the in-laws taints the value of marriage. 

Ace is all of the above. His insecurities and anxieties about long-term commitment have left a trail of broken hearts. However, he is forced to confront these taxing traits when he meets Zandi (Kwanele Mthethwa).

Swept away like dry leaves on a gusty Joburg autumn day, Ace is enchanted. 

Though the film comes loose at the seams with the flat dialogue during the romantic scenes, the roll-on-the-floor comedic parts make up for it. 

Like Thembsie Matu, who plays the heavily made-up and hilarious Aunt Miriam, this is Maleka’s debut on this side of streamville. Certainly, a refreshing move to witness, regarding the film’s casting. 

With the risk of recycling the same faces, due to our country’s shallow pool of acting talent, how did the creators work towards crafting a unique and memorable visual product? 

There was a rigorous casting process around the lead. 

“We not only searched for actors that were going to hold their own and bring these characters to life in the best way possible, but we also had to make sure that the chemistry across the entire cast worked well.” 

The bromance between Ace and the nerdy Duke, as well as their love triangle with Zandi, plays out well in the film, adds Ramaphakela. 

I found Mahlangu’s portrayal of the gawky character pleasantly different from his previous roles in Netflix productions. 

The Burnt Onion team also had an appetising wishlist that included the stellar actor Nimrod Nkosi, who plays Bab’ Zungu, Zandi’s father. 

“Then we had a few people in mind for the roles of Ma Miriam, Long-John and Biza,” says Ramaphakela. “For us, it was a no-brainer to cast Thembsie Matu, Obed Baloyi and Sello Ramolahloane.”

The Ramaphakela trio strives to cook high-end quality productions in innovative and cost-effective ways. Like most local filmmakers, many of the deliberations in their war room about bringing such a wishlist to screen would hinge on finances. 

The thing that differentiates one production from another is mostly budget, contends Ramaphakela.   As with their previous productions for the global streaming platform, Lobola Man came with its own unique trials. 

“We worked with less than other Netflix productions because this followed a different finance structure, as the film is a co-production with Netflix and Burnt Onion Productions. We also contributed funds.” 

There was additional support from the National Film and Video Foundation. In the end, “we had an amazing cast and crew who were integral in making sure we surpassed the standards we wanted to achieve, based on the budget the film was made off”. 

“The support from Netflix in our vision, and letting us make the film the way we wanted to, went a very long way in making both the creative and financial process much easier.”

Exposure to our evolving country’s cultures is key for social cohesion and understanding and, delivered in a light-hearted way, the vision echoes widely. Burnt Onion’s growing body of work on the global streaming platform is recognisable in showcasing our culture and heritage.  

The How To Ruin Christmas franchise and How to Ruin Love shine with relatable themes, nostalgic soundtracks and colourful wardrobes. The intention is unquestionable. 

“It is natural for us,” adds Ramaphakela, “to showcase South African culture, because we always have the South African audience top of our minds in our productions. 

“That’s who we make our films for. The fact that those stories land on a global streamer is a bonus. So, we try to be as authentic as possible to what we know and love about our country, and hopefully, the rest of the world can learn a little more about SA culture and also buy into it.” 

The thematic contention between African traditions, such as lobola, and Western-influenced modernity also permeates their work. 

“It’s more about telling stories that are uniquely South African. We have such a rich and diverse culture in SA  and we haven’t even begun to tap into its richness in storytelling,” says Ramaphakela. “It’s important to preserve our cultures; film is one of the most important contributors to this because it lives forever.” 

Sure, there is nothing new under the rom-com sun, but with the perfect ingredients to dish out genre-suitable content — boosted by recommended algorithms — Burnt Onion Productions is not about to leave the kitchen anytime soon.