Movies

Perdeby’s ultimate guide to scholarly film jargon

CARINA KLOPPERS

With the commencement of awards season and The 90th Academy Awards creeping closer, you might find yourself hearing phrases like “mise-en-scène” and “neo-surrealism” a bit too often. Like most casual film goers these phrases go right over our head, so you nod silently as you pretend to agree with whatever statement was just made about the Coen Brothers’ new movie. But that ends now. With this guide to scholarly film jargon, you will easily morph into Roger Ebert himself.

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Movie review: It - Andy Muschietti

MINÉ VAN DER BERG

The much anticipated movie adaption of the Stephen King novel It has finally arrived. The film was released in cinemas in South Africa on 15 September and is based on the first half of Stephen King’s novel. A sequel exploring the second half, which takes place 27 years later, is already in the works.

The story centres around seven friends who call themselves “The Losers Club”, who are terrorised by Pennywise the dancing clown excellently portrayed by Bill Skarsgård. Pennywise shapeshifts and confronts each of the children as their worst fear, his presence sometimes ominously announced by a single floating red balloon. The children, Beverly Marsh (Sophia Lillis), Bill Denbrough (Jaeden Lieberher), Ben Hanscom (Jeremy Ray Taylor), Richie Tozier (Finn Wolfhard), Mike Hanlon (Chosen Jacobs), Eddie Kaspbrak (Jack Dylan Grazer) and Stanley Uris (Wyatt Oleff), all manage to carry the film. Their charming portrayal and comradery is in essence what makes the film more than just another horror movie.

Read more: Movie review: It - Andy Muschietti

“Whitewashing” and the Hollywood film industry

 KOJO ESSAH

“Whitewashing” is a phenomenon that has been around in the film industry for a while, but has recently been gaining more attention due to the increase in film production and access to social media. By definition, whitewashing occurs when white actors are cast in non-white roles. These choices often lead to backlash from fans of films, the media, and parties in the film industry. Perdeby looked at two upcoming films and their controversy.

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Review: Vaselinetjie - Anoeschka von Meck

CARINA KLOPPERS

Helena “Vaselinetjie” Bosman is a little white girl who lives in a small rural town somewhere in the Northern Cape, with her coloured grandparents who love her dearly. That is until the welfare discovers that Vaselinetjie is not their biological grandchild and she is sent off to a state boarding school outside Johannesburg. Vaselinetjie’s life is drastically altered as she is forced to confront a crueller reality, with damaged children, indifferent caretakers and endless disappointments.

Read more: Review: Vaselinetjie - Anoeschka von Meck

Review: Dora’s Peace Kosta Kalarytis

SHAUN SPROULE

South African films often avoid the gritty underbelly of South Africa, opting for the polished Hollywood sheen of Sandton or Cape Town. Dora’s Peace, directed by former cartoonist Kosta Kalarytis, takes audiences into the unedited reality of the Hillbrow underworld, providing a glimpse into the lives of the people who inhabit the world of organised crime.

The film follows Hillbrow prostitute Dora (Khabonina Qubeka), whose age and declining beauty are digging into her client base. When her friend and neighbour, drug addict Connie (Hlubi Mboya), suddenly dies, Dora is left to take care of her son Peace (Paballo Koza), an innocent and talented twelve-year old boy. Dora pretends to be Peace’s aunt to keep him out of police custody. He slowly starts to work his way into Dora’s heart, leaving Dora in a difficult position when his life is put in danger. She is forced to turn to her old friend, the sleazy Greek bookie Stavro (Danny Keogh), for help. Hillbrow’s underworld seems to hide many secrets, some that even Dora would rather keep hidden. In order to look to the future, Dora needs to confront her past.

Read more: Review: Dora’s Peace Kosta Kalarytis

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