Nelson Mandela is a global icon of the late 20^th and early 21^st centuries. But this might not have been if it were not for the heroic fight to save Mandela’s life by a legal team led by an Afrikaner revolutionary, Bram Fischer. This is the story of how Mandela was saved from the death penalty in the Rivonia trial of 1963.

On a winter’s day, July 1963 the police raid a farm in Rivonia on the outskirts of Johannesburg. Nine black and white leaders of the banned ANC and “Umkhonto we Sizwe” (the Spear of the Nation) are arrested. And a tenth member, arrested earlier is added to the group of nine, Nelson Mandela.

More than anything the Apartheid regime wanted to sentence freedom fighters to death: not only as a warning to their fellow activists but also to get rid of some of Apartheids’s most feared enemies; in essense to decapitate the liberation movement.

When the families of the suspects try to find a lawyer to defend the accused, the potential candidates are afraid or unwilling to accept the mandate. Widely respected legal mind Bram Fischer also hesitates. He is the Dean of the Bar Association, counsel for major mining magnates and scion of a prominent Afrikaans family.

But Bram hesitates for other reasons: he has a secret that only a few people and his wife, Molly Fischer, know. Bram should have been the eleventh accused, and it was only by chance that he was not present at the farm in Rivonia when his fellow activists were arrested.

He decides to take on the defence. During the trial Bram not only has to unravel the manipulated evidence by the prosecutor, and expose bribed or tortured witnesses, he must also protect himself from detection by witnesses.

During the trial Bram sees more and more reasons to move away from his principles of nonviolence, and becomes prepared to support violent acts of sabotage and the armed uprising of the people. The death penalty for the accused could be the spark igniting the powder keg, and parallel to the trial Bram is fervently trying to organise the underground resistance.

Then the secret police uncover Bram’s double role and the State Attorney is forced by the Minister of Justice, Balthazar Vorster, to play this card. Bram has a moral dilemma: does he defend his clients, or take care of the welfare and safety of his family?

The film stars Peter Paul Muller, Alles is Liefde, Gooische Vrowen, as Bram Fischer, Sello Motloung, The #1 Ladies’ Detective Agency, Generations, as Nelson Mandela, Antoinette Louw, Die Laaste Tango, Swartwater, Izel Bezuidenhout, Dis Ek, Anna, Agent 2000: Die Laksman en Morne Visser, Dis Ek, Anna, The Forgiven.

Directed by Jean Van De Velde, An Act of Defiance, won the 2017 Movies that Matter Film Festival – Audience Award in the Hague, Netherlands.

An Act of Defiance was the opening film in the Cape Town International Market & Film Festival (2017) and has achieved the following awards from various festivals:

• 2017 Dutch Film Awards – Best Actor
• 2017 Dutch Film Awards – Best Screenplay
• 2017 Cape Town Film Festival – Best Actress
• 2017 Cape Town Film Festival – Best Screenplay
• 2017 Mill Valley Film Festival – Golden Audience Award
• 2017 Movies that Matter Film Festival – Audience Award

The film’s partners include Richard Claus & Co, Spier Films and Cinema Management Group. It is a South African-Dutch co-production, with thanks and recognition to Richard Claus, Michael Auret, Hugh Rogers, Patricia Van Heerden and Dr. Lwazi Manzi as producers.

An Act of Defiance is distributed in South Africa by Indigenous Film Distribution.

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By Jaco Lotriet

South African film productions have garnered quite a few accolades in recent years on the International scene. Sink and especially Tsotsi come to mind, cementing our country’s achievements in filmmaking, not only on the local scene, but especially abroad. This wide acclaim catapulted our filmmakers into the upper ranks of producer royalty, subsequently exposing them to a much larger audience.

When a film such as Die Stropers comes along, we can only hope that this production will gather as much praise, as its predecessors have. With a standing applause from the audience at the recent 71st Cannes Film Festival, as well as having won best cinematography at the eighth annual kykNET Silwerskerm Film Festival, Die Stropers may be well on its way to achieving the critical acclaim it deserves.

Cape Town-born writer and first time director, Etienne Kallos, who spearheaded this production, audaciously strode into a world of an intense psychological drama. Centred on an extremely conservative Christian Afrikaans family, Kallos addressed the often thorny topics of religion and sexuality entwined head-on, in this coming-of-age production. It should be stated that a lot of recent media publications seem to centre on, and even exaggerate the theme of homosexuality in the film. While it certainly forms an integral part of the storyline, I would rather state that it is subtly implied, and in no way offensive.

The aforementioned conservatism however, is ultimately tied to the religious theme and relates to the strict constraints and traditionalism sometimes found in the Afrikaner community, whereby the fear of God and the reconciliation between failure and the inability to express one’s true self, is emphasised. This truthful, often gritty conveyance on screen, may leave an Afrikaner audience reeling, as it could uncover feelings of shortcomings that they would much rather shy away from. Perhaps, as is evident in this day and age with the more open-minded younger generation, this might actually not be the case…

Either way, it is impossible to ignore the film’s confrontational, dark and sometimes perplexing nature. Perplexing, because even though the audience may wonder how the story will play out, nothing quite prepares them for its unravelling conclusion. This, in part, can be credited to the contrasting and gripping performances of two actors in particular, as well as exquisite cinematography, combined with a sweeping score.

The protagonist Janno and antagonist Pieter, are both played by two newcomers; Brent Vermeulen and Alex van Dyk, respectively.   These two actors’ depiction of their characters can best be described as jaw dropping performances, but particular praise goes to Van Dyk as the cool, calculated and manipulating Pieter. Having briefly experienced these actors’ actual personalities at the film’s red carpet event, I was astonished at how remarkably different their characters were.   Not only does this point to their great intrinsic acting skills, but also outstanding direction from Kallos.

Evgueni- and Sacha Galerines sweeping score, combined with Michal Englerts spectacular cinematography immerses the audience further in the deep melancholy unfolding on screen. Die Stropers is a slow-paced, Afrikaans movie, featuring English sub-titles, hence its accompanying title, The Harvesters.  Scant dialogue and intimate moments of silence accentuates its overall mood and for good reason, becoming more apparent with the films’ progression, whilst maintaining the line of suspense throughout.

A must-see production of this magnitude requires investors in bringing the producers ‘extraordinary vision to life and includes the KwaZulu -Natal Film Commission, Agence Film France, the Greek Film Institute, the Polish Film Institute and the Department of Trade and Industry. The film is produced by Sophie Erbs, the Cinema de Facto of France and Thembisa Cochrane, of Spier Films, South Africa. Executive producers are Dr Lwazi Manzi and Michael Auret, also from Spier Films.

Die Stropers is distributed in South Africa by Indigenous Film Distribution and opened nationwide in South Africa on 15 March 2019.

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kykNET-kykers weet teen hierdie tyd dat die drama-gleuf op ’n Dinsdagaand nooit teleurstel nie en met die nuwe reeks, Spoorloos, wat op 9 Oktober begin, gaan dit ook nie anders wees nie.

Die storie speel af in die dorpie Digtersdal in die Oos-Kaap. Dis ’n spookdorp op soek na genesing en herlewing, maar ná dertien jaar se onopgelosde raaisels, keer die reeksmoordenaar van destyds skielik terug. Om hom op te spoor, moet ’n speurder en joernalis al die ou wonde oopkrap. Terselfdertyd is daar ook drie kinders van die dorp wat die monster probeer vastrek en familie-intriges, soos net in ’n klein dorpie kan wees…

Die dorp Digtersdal in die Oos-Kaap, is dertien jaar vantevore deur ’n reeksmoordenaar geterroriseer ,wat seuns van 5 tot 15 jaar oud geteiken het. Die moorde het skielik opgehou, maar die moordenaar is nooit vasgetrek nie. Die dorp was geknak. Wonde het jare gevat om rowe te vorm en is nog lank nie genees nie. Werner Malan se planne vir die ontwikkeling van Digtersdal tot ’n vakansieparardys, het doodgeloop en hy het ‘n fortuin verloor. Die bouwerke vir ’n toeriste-oord wat met die Sonstad sou kompeteer, is gestop en die ingangspoort wat opgerig is, staan verbleik soos ’n reuse grafsteen, ter herhinnering aan die tragedie wat die dorp oorval het.

Nou, dertien jaar later, is die dorp onder Werner se stukrag vasberade om die spoke van die verlede te besweer. ’n Fees is in die lewe geroep – die Fakkelfees – waartydens besoekers aangemoedig gaan word om in die nuwe tyddeelontwikkeling te belê.

In die rolverdeling is ’n paar veteraan-spelers, asook nuwe gesigte. Die reeks is in Cradock in die Karoo geskiet en die dorp en sy mense dien as agtergrond vir dié nuwe reeks.

Deon Coetzee is te sien as Werner Malan, ’n sakeman, politikus en boer. Hy is getroud met Angelique, gespeel deur Catriona Andrew, wat uit ’n ryk Engelse familie kom. Hulle seun, Werner Jnr. wat almal Junior noem, vertolk deur Francois Jacobs, is getroud met Lara, Amalia Uys se karakter – ’n gekneusde engel wat op soek is na redding uit haar versmorende huwelik. Lara het ’n 12-jarige seun, Jan-Gustav, gespeel deur Neil Slabbert.

Ludwig Binge as Ian Vos, werk by ’n advertensie agentskap in die stad. Hy was 17 jaar oud toe sy broer, Benjamin, deur die reeksmoordenaar vermoor is. Sy ma, Frieda, vertolk deur Wilmien Rossouw, woon nog in Digtersdal.

Zane Meas as Adam Arendse, is ’n politieke leier en aktivis en is pa van Keagan, gespeel deur Charl Fleurs, ’n slim seun, hoewel hy effens van ’n bangbroek is.

Eric Bouwer as De Wet, is ’n speurder van Johannesburg en Sonja Landman, vertolk deur Kim Lategan, is ’n TV-joernalis wat groot drome het om ’n ondersoekende joernalis te word. Lieb Bester, as Gert Neethling ,is die dronklap van die dorp en sy vrou, Magda, gespeel deur Elsabé Daneel, is iemand wat wys wat onvoorwaardelike liefde beteken.

Kagiso Rathebe, as Sibusiso Jele, is De Wet se kollega en Lusanda Miya, vertolk deur Sibulele Gcilitshana, is kaptein. Deon Prinsloo is ’n siniese speurder by die plaaslike polisiestasie en word gespeel deur Ashley Taylor.

Ander karakters is Ds. Els, met Morné Visser, die maplotter en dwelmhandelaar Piet “Pille” Taljaart, met André Odendaal en sy dogter Esti, met vertolking deur Ineke van der Merwe. Verder sluit die rolverdeling in Hannes van Wyk as die waarnemende skoolhoof, Mnr. Immelman, Marie Fick, die bestuurder van die plaaslike koerant, met immergroen Liz Meiring, asook Fezile Grootboom, Werner se voorman, vertolk deur SK Sombokwe. Die reeks is gegrond op Daddy Longlegs, ’n boek deur die Suid-Afrikaanse skrywer Vernon Baumann.  Die draaiboek is deur Ilse van Hemert geskryf en sy was ook saam met André Odendaal die mede-regisseur. [dropcap][/dropcap]

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Nul is Nie Niks Nie is nie net ’n bemoedigende en op ’n donker manier ’n vermaaklike nuwe rolprent oor die lewe, dood en alles tussen-in nie, maar vertel ook die storie van drie vriende in ’n dooierige dorpie – Martin oftewel “Hoender” (Jaden van der Merwe), Drikus (Pieter Louw) en Chris (Daniah de Villiers) – wat vasberade is om Drikus se laaste wens waar te maak: om ’n zombie-film te maak.

Die briljante vertolkings van die talentvolle jong akteurs blaas sommer nuwe lewe in die storie. “Die proses om die rolle toe te ken, was redelik omvattend en meer as 400 kinders het vir oudisies opgedaag,” het die regisseur, Morné du Toit, gesê. “Ons het gelukkig drie lewenslustige tjokkertjies gekry wat regtig kleur aan die storie verleen het. Jaden van der Merwe het eerste ’n rol losgeslaan en het hoë standaarde vir die ander gestel. En toe ons die klompie die eerste keer tydens repetisies gesien het, het ons geweet dat ons die spyker op die kop geslaan het, want saam verleen hulle soveel volwassenheid aan die karakters wat hulle speel. In ’n ommeswaai van die tradisionele rolle, is dit hulle wat die volwassenes leer en help met hul transformasie.”

Die dertienjarige Hoender is ’n wiskunde-genie en ’n suksesvolle hoenderboer wat sakgeld verdien deur hoendereiers te verkoop. Hy mis sy pa wat altyd vir hom wiskundeprobleme op ongewone plekke gelos het om op te los. Sy ma het op die dag van haar man se dood ophou lewe en is gladnie meer by haar kinders se lewens betrokke nie. Cindy (Reine Swart), Hoender se suster, probeer ook om haar pa se dood te verwerk en om van haar ma en haar eie hartseer weg te kom, gaan sy met skelm Bruce (Luan Jacobs) uit.

Wanneer Drikus by die buurhuis intrek, word hy en Hoender vinnig vriende en Hoender ontdek dat die nuwe buurseun Hodgkin se Siekte het. Drikus noem aan Hoender dat dit sy laaste wens is om ’n zombiefliek te maak.

Die bende se derde lid is Chris, Hoender se droommeisie. Die drietal vorm vinnig ’n onbreekbare band en ontvlug saam van hulle eentonige daaglikse bestaan – skoolboelies, Drikus se oorbeskermende ouers en Hoender se kluisenaarma – deur aan hulle projek te werk, want as hulle daarop fokus om hulle rolprent te maak, is al die ander dinge skoon vergete.

Tydens die filmmaakproses moet Hoender die verlies van sy pa begin verwerk. Hy maak terselfdertyd nuwe vriende, werk aan sy selfvertroue en besef dat hy heelwat het om aan ander te bied. Drikus se deursettingsvermoë en genadelose vasberadenheid om lewe in die gevrekte gemeenskap waarin die driemanskap woon te blaas, gee hulle ’n nuwe doel voor oë.

Ondanks Drikus se lewensvreugde skop die werklikheid vinnig in – hy is steeds siek. En om dinge te vererger, word die drie vriende en hul rolprent deur ’n bende bedreig wat probeer om die hart van die gemeenskap te steel. Om te sorg dat Drikus se rolprente voltooi word, moet Hoender opstaan vir dit wat reg is en najaag wat hy wil hê sonder om ooit dit waarin hy glo, prys te gee.

Die vriende kom saam tot die gevolgtrekking dat nul nie niks nie – dit lê reg in die middel van positiewe en negatiewe syfers en dui op groot potensiaal.

Ervare akteurs soos Morné Visser, Marisa Drummond, Antoinette Louw, June van Merch, Kim Syster, Bradley Olivier en Francois Jacobs is ook in Nul is Nie Niks Nie te sien en Lizé Vosloo het die draaiboek geskryf.

Die rolprent is deur Redhead Productions en Faith in Motion Productions, in samewerking met kykNET Films, die ATKV en die Departement van Handel en Nywerheid, vervaardig. Dit word in Suid-Afrika deur Indigenous Film Distribution versprei en sal op 7 Julie landwyd in teaters uitgereik word.

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DIS EK, ANNA TO DEBUT AT DIFF 2015

Palama Productions will debut their latest feature film Dis ek, Anna at the Durban International Film Festival this year.  Based on the fictionalised autobiographical best-sellers Dis ek, Anna and Die Staat teen Anna Bruwer by Anchien Troskie, written under the pseudonym Elbie Lötter, and adapted for screen by Tertius Kapp, the film is produced by Niel van Deventer (Suurlemoen, Anderkant Gister) and directed by Sara Blecher (Ayanda, Otelo Burning). 

The film is a harrowing, but ultimately uplifting story of a young woman who finds the strength to pick up the pieces of her shattered world and forge a new life.  Anna Bruwer is sexually abused by her stepfather over a period of 8 years.  Unable confide in anyone, she is rendered voiceless and inhabits a shadow world of shame, foreboding and secrecy, until she is finally able to break free from her tormentor.

Dis ek, Anna stars Charlenè Brouwer (Vrou Soek Boer, Erfsondes, Binnelanders) in the title role with Marius Weyers (Faan se Trein, Die Wonderwerker), Nicola Hanekom (Hollywood in My Huis, Faan se Trein), Izel Bezuidenhout (Agent 2000), Morné Visser (Long Walk to Freedom, Skoonheid), Eduan van Jaarsveldt (Fanie Fourie’s Lobola,Long Walk to Freedom) and Drikus Volschenk (Long Walk to Freedom, Skoonheid).  Rounding out the cast is Dawid Minnaar, Elize Cawood, Hykie Berg, Kara van der Merwe and Fezile Mpela.

“Bringing this film to screen has been a labour of love,” says producer Niel van Deventer.  “It is very important to me to find projects that have the potential to become films that transcend the borders of our language and country.  Anna is certainly such a story.”

“We are thrilled to have Dis ek, Anna as part of our slate of films for 2015.  It is a remarkable film that raises the bar in terms of quality and performance,” says Driki van Zyl, General Manager: Times Media Films. “

Times Media Films will release Dis ek, Anna limited release on 18 September before the official opening at cinemas nationally on 23 October 2015.

TIMES MEDIA FILMS INITIATE PROCESS WITH FPB TO REVIEW DIS EK, ANNA CLASSIFICATION

Times Media Films, distributor of the Afrikaans language feature film, Dis ek, Anna has initiated the process with the Film Publication Board (FPB) to review the earlier classification imposed on the film.  This was the first viewing by the FPB and geared towards clearing the film for screening at the Durban International Film Festival in July.  The film was given an 18L (SV) classification. 

The final music score and sync on the film has now been completed as well as the addition of information cards to the film’s end credits and the FPB has requested a second classification session of the final version of the film.  In early September, a new classification committee will watch the film and make its recommendations. 

Dis ek, Anna is produced by Niel van Deventer of Palama Productions, helmed by Sara Blecher and stars Charlené Brouwer in the title role, along with Marius Weyers, Nicola Hanekom, newcomer Izel Bezuidenhout as the young Anna, Morné Visser, Eduan van Jaarsveldt, Drikus Volschenk, Ilse Klink, Elton Andrew, Hykie Berg and Elize Cawood. 

The film is based on the best-selling fictionalised autobiographical novels Ek, Anna and Die Staat teen Anna Bruwer by Anchien Troskie written under the pseudonym Elbie Lötter and describes the sexual abuse suffered by young Anna Bruwer at the hands of her stepfather from the age of 12.  While Blecher has handled the rape scenes with great sensitivity, she does not shy away from showing the impact that the abuse has on the young Anna.  “The whole point of the film is expose the damage that sexual abuse causes.  I think that it is important that this film be made accessible to 16 year olds, because they are a vulnerable age group and we have to let them know that they are not alone and they do not need to endure abuse”, says Blecher.

Van Deventer’s primary reason for making the film was to address the rampant abuse suffered by children in South Africa and offer hope to victims.  “This is a taboo subject that nobody wants to talk about, but we cannot simply ignore the situation while more and more girls and boys are abused, often by people known to them.  If this film can make a difference to just one victim or create a greater awareness of sexual abuse, we would have succeeded”.

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