Mense gaan vir jou sê Jagveld is soos Kill Bill in Afrikaans. Dit is tog hoe die lokprent dit laat lyk het. Behalwe vir Leandie du Randt Bosch se Lara Croft (van Tomb Raider) klere, lyk haar blonde hare tog so bietjie na Uma Thurman s’n in 2003 – veral wanneer dit bietjie deurmekaar is, met sweet en bloed op die gesig. Maar Jagveld is eintlik bietjie iets anders – minder te doen met wraak, meer met oorlewing.
That moment when Samuel L Jackson is staring down a 100 feet tall gorilla, flames blazing around them as helicopter shells burn out and body parts are scattered all over the jungle. That’s the moment you realise sh*t just got real and Kong has returned facing a new enemy.
Kong: Skull Island is the latest reboot by director, Jordan Vogt-Roberts (The Kings of Summer), for the legendary MonsterVerse series. A team of explorers and soldiers travel to an uncharted island in the Pacific, unaware that they are crossing into the domain of monsters, including the mythic Kong.
The tale of two mothers conniving so that their children don’t further a romantic affair has been told many times. But place this same basic plot in the vibrant Indian suburb of Chatsworth in Durban, and you have a genuine story with character, flair and charisma. From the same producers that brought us Hard to Get (2014) and the very successful Happiness is a Four Letter Word (2016), comes the romantic comedy Keeping up with the Kandasamys.
In an early car chase scene in Logan, the title character (also known as Wolverine) is trapped, so he speeds his car towards a wire fence. “Hang on!” he shouts to his passengers. But the car doesn’t make it through. “Of course it won’t,” you think. “Real fences aren’t as flimsy as they are in the movies.” Except you’re watching a movie. You’re watching a superhero movie, based on a comic book – and real-word physics apply?? Yip, it seems Logan isn’t your average comic book movie.
The Zanzibar International Film Festival announced a new special jury award category: The Adiaha Award for Best African Female Documentary Filmmaker. This award will be offered for the first time at the 20th edition of ZIFF, held this year 8-16 July.
“Adiaha” is an Ibibio language word that means “first daughter”. This is meant to represent that the winner will be the “first daughter of African documentary filmmaking”, in addition to a cash prize of $2000 (US Dollars), a prestigious Adiaha statue, and a certificate of award.
The award has been created and sponsored by Edima Otuokon of OMESS in Nigeria, and Lara Preston of Red Flag in South Africa – both entrepreneurial women who have been involved in the film industry for many years and are also actively involved in ZIFF. Recognising a gap within the awards at the festival, Edima and Lara aim to raise the profile on documentary filmmaking on the continent, and more specifically to ensure that more female filmmakers all over Africa get involved in the development of documentaries.
“The Adiaha Award is an opportunity for me as a woman who has worked in the entertainment industry for decades to give back to other women. I believe that networking and mentorship are key for women’s growth within any industry. I encourage as many women filmmakers as possible to enter the award and to always keep pushing themselves forward towards their career goals.” – Lara Preston, award co-creator
ZIFF hopes that, for the 20th anniversary event, more female filmmakers than ever before will submit films into the general competition, as well as this special category. Deadline for submission is 15th March 2017.
The LEGO Batman Movie assured its success when it combined two of the great cultural landmarks we as humans have: LEGO and Batman. If you loved 2014’s The LEGO Movie you’ll definitely want to check this one out. Part sequel, part spin-off and certainly the most successful DC movie to grace the big screen in a while.
Of all my addictions, my biggest and most long-lasting one has to be films. Or movies. Cinema. Whatever the street name is for it. Each year the streets fill up with my favourite dealers, delivering a fresh batch of goods for temporary euphoria, and this year they’re coming in hot.
I really like musicals. But I’m always wary of new ones. And despite Damien Chazelle’s previous film, Whiplash, being a favourite of mine and a terrific movie, I had my doubts when it was announced that La La Land, his next feature as writer-director, would be a musical. And when I watched the movie open with a musical number, my fears were in full swing…
A lot of people are calling Split a kind of return-to-form for director M. Night Shyamalan. And it very much is. When he first appeared as the “new kid on the psychological thriller block” in 1999 with The Sixth Sense, M. Night seemed to have a successful formulaic approach to his films: Slow-burning, tense thrillers, with a big twist at the end that surprises audiences and encourages multiple viewings.
It’s the job of films to make us feel things. Even better if it’s not things we can usually or easily feel. Like the thrill of running from dinosaurs, or blowing up space stations, or falling in love, or beating the terrorists. Or in the case of A Monster Calls, the pain that often goes with love.