#south african cinema

[dailyworldcinema]

RIDING WITH SUGAR (2020)  dir. Sunu Gonera

#riding with sugar #south africa #south african cinema #african cinema #2020s #by kraina #filmedit #worldcinemaedit #userfilm #filmgifs #pocfiction #cinematicsource #userrobin #underbetelgeuse #userriah #userwongkarawai #tusertha #usertom #userpavlova #usernatty

[oldtvandcomics]

Happy Queer Media Monday!

Today: Valley of a Thousand Hills (2022)

I’m still not over just how much nobody is talking about this.

(Thenjiwe and Nosipho on Nosipho's birthday, when Thenjiwe first shows her the house she's been building.)

Valley of a Thousand Hills (or The Valley of a Thousand Hills, if you go by the Netflix title) is a 2022 South African lesbian drama. The story follows Nosipho, a young woman from a traditional village, who is being pressured by her conservative father to marry a man he picked for her, while being actually in love with his sister, Thenjiwe. Thenjiwe has been secretly building them a house outside of the village, in the hopes that they’d move in together. But Nosipho is afraid to openly commit and tries to dance the tightrope between social expectations and her own desires, with disastrous consequences.

I want to stress once again: This is NOT a happy movie, and contains a whole load of subjects that might need a trigger warning.

What is remarkable about this movie is that 1) it is a South African lesbian movie, and is clearly speaking about queer issues (and other social problems) specific to that region, and 2) just how much you don’t see anyone talk about it. I couldn’t find a Wikipedia article, for example, and places like IMBD barely have any comments or other information.

The movie itself is on Netflix, and here is a trailer on YouTube. I also quite liked this review on Afrocritik, written by a Nigerian woman.

Queer Media Monday is an action I started to talk about some important and/or interesting parts of our queer heritage, that people, especially young people who are only just beginning to discover the wealth of stories out there, should be aware of. Please feel free to join in on the fun and make your own posts about things you personally find important!

#on the nice side the few reviews that I DID find all are from like African people #I mean just Afrocritik looks like a very valuable source for the future #netflix #african cinema #South African Cinema #The Valley of a Thousand Hills #movie rec #queer movies #lesbian movie #Queer Media Monday

[celluloidrainbow]

THE WORLD UNSEEN (2007) dir. Shamim Sarif In 1950s Cape Town, progressive and free Amina co-owns a cafe with a black man named Jacob. One day, a beautiful housewife named Miriam visits the cafe, and Amina is instantly smitten. Miriam runs a store outside of town with her husband, Omar, and feels increasingly stifled in her conventional life. She cannot help but give in to her desire when Amina comes calling. (link in title)

#lgbt cinema #lesbian cinema #the world unseen #the world unseen 2007 #south african cinema #lgbt #lesbian #south africa #lgbt movie #lesbian movies #south african movies #lgbt film #lesbian film #south african film #lgbt media #lesbian media #queer cinema #african cinema #shamim sarif #lisa ray #sheetal sheth #2007 #00s #2000s #00s movies #2000s cinema #00s film #2000s movies #2000s films

[folditdouble]

Women in Film Challenge 2023: [51/52] Cut-Out Girls, dir. Nicola Hanekom (South Africa, 2018)

It's biological. Sow your seed - or in your case, nut - and get out of here.

#cut out girls #nicola hanekom #women directors #women in film #african cinema #south african cinema #*mine

[alfredsnightmare]

The Shadowed Mind (Cedric Sundstrom, 1998)

#The Shadowed Mind #Cedric Sundstrom #Nicholas Ashley Nortier #Adrienne Pierce #Evan J. Klisser #Simon Poland #Rufus Swart #Giallo #80's Horror #South African Cinema

[kino-zoo]

This Is Not a Burial, It's a Resurrection (2019)

#sheep #Lemohang Jeremiah Mosese #south african cinema

[gyamfieric]

#photography #film african cinema #slow cinema #ama ata aidoo #certain winds from the south ghana #new york african film festival #ghana

[mariwatchesmovies]

Moffie (2019) dir. Oliver Hermanus

#cinema #film #cinematography #screencaps #movies #film stills #south african film #moffie #oliver hermanus

[lost-wits]

7 Fragments for Georges Méliès by William Kentridge, c. 2003. Installation film. Castello di Rivoli Museo d'Arte Contemporanea.

#art #art history #contemporary art #modern art #21st century #art collections #art film #cinema studies #cinematography #experimental video #experimental #experimental film #cult film #south african art #surreal #liminal #liminal spaces #liminalcore #dreamcore #art installation #media #moving image #video art #video archive

[dailyworldcinema]

Riding with Sugar 2020 | dir. Sunu Gonera

#riding with sugar #south africa #south african cinema #by kraina #2020s #filmedit #worldcinemaedit #usercineworld #cinematicsource #tvmoviegifsdaily #moviehub #usernatty #underbetelgeuse #supervalcsi #userlyra #userpavlova #userwongkarawai #userjack #tusertha #tusermili

[oldtvandcomics]

Guys, guys, GUYS! (gender neutral)

There is this new movie on Netflix, Runs In The Family (2023). GO WATCH IT.

It's a South African dramedy about a transgender boy and his single father who go on a road trip to break his birthmother out of a hospital. Then the protagonist's drag partner hurts their foot, and THE FATHER JUMPS IN AND DOES A DUAL DRAG NUMBER WITH HIS SON.

It's this beautifully messy family story, with a wonderful father-son relationship at its heart. From South Africa. Also, it's in English, you don't even need subtitles.

Feels like something Tumblr would appreciate.

#my life improved 110% when I started watching foreign queer movies #as in 'actually foreign' France and Germany don't count #obviously #you just get the most beautifully human stories delivered in beautiful movie format to you from all corners of the world #so glad to see more from Africa too #India meanwhile is obviously the best but they also have the biggest movie industry so it's not really surprising #anyway go watch foreign queer movies #queer cinema #african cinema #South African cinema #movie rec #netflix movie

[celluloidrainbow]

INXEBA (2017) dir. John Trengove Eastern Cape, South Africa. A lonely factory worker, Xolani, takes time off his job to assist during an annual Xhosa circumcision initiation into manhood. In a remote mountain camp that is off limits to women, young men, painted in white ochre, recuperate as they learn the masculine codes of their culture. In this environment of machismo and aggression, Xolani cares for a defiant initiate from Johannesburg, Kwanda, who quickly learns Xolani’s best kept secret: that he is in love with another man. (link in title)

#lgbt cinema #gay cinema #inxeba #the wound #the wound 2017 #south african cinema #xhosa cinema #lgbt #gay #south africa #xhosa #lgbt film #gay film #south african film #lgbt movie #gay movies #south african movies #african cinema #lgbt media #gay media #queer cinema #nakhane touré #bongile mantsai #niza jay ncoyini #2017 #2010s #2010s movies #2010s cinema #2010s films

[orpheez]

WILLIAM KENTRIDGE, Ubu Tells the Truth (1997).

#reference #william kentridge #drawing #video art #cinema #animation #chalk #south african art

[shewhoworshipscarlin]

Evelyn Preer

Evelyn Preer (née Jarvis; July 26, 1896 – November 17, 1932), was an African American pioneering screen and stage actress, and jazz and blues singer in Hollywood during the late-1910s through the early 1930s. Preer was known within the Black community as "The First Lady of the Screen."

She was the first Black actress to earn celebrity and popularity. She appeared in ground-breaking films and stage productions, such as the first play by a black playwright to be produced on Broadway, and the first New York–style production with a black cast in California in 1928, in a revival of a play adapted from Somerset Maugham's Rain.

Evelyn Jarvis was born in Vicksburg, Mississippi, on July 26, 1896. After her father, Frank, died prematurely, she moved with her mother, Blanche, and her three other siblings to Chicago, Illinois. She completed grammar school and high school in Chicago. Her early experiences in vaudeville and "street preaching" with her mother are what jump-started her acting career. Preer married Frank Preer on January 16, 1915, in Chicago.

At the age of 23, Preer's first film role was in Oscar Micheaux's 1919 debut film The Homesteader, in which she played Orlean. Preer was promoted by Micheaux as his leading actress with a steady tour of personal appearances and a publicity campaign, she was one of the first African American women to become a star to the black community. She also acted in Micheaux's Within Our Gates (1920), in which she plays Sylvia Landry, a teacher who needs to raise money to save her school. Still from the 1919 Oscar Micheaux film Within Our Gates.

In 1920, Preer joined The Lafayette Players a theatrical stock company in Chicago that was founded in 1915 by Anita Bush, a pioneering stage and film actress known as “The Little Mother of Black Drama". Bush and her troupe toured the US to bring legitimate theatre to black audiences at a time when theaters were racially segregated by law in the South, and often by custom in the North and the interest of vaudeville was fading. The Lafayette Players brought drama to black audiences, which caused it to flourish until its end during the Great Depression.

She continued her career by starring in 19 films. Micheaux developed many of his subsequent films to showcase Preer's versatility. These included The Brute (1920), The Gunsaulus Mystery (1921), Deceit (1923), Birthright (1924), The Devil’s Disciple (1926), The Conjure Woman (1926) and The Spider's Web (1926). Preer had her talkie debut in the race musical Georgia Rose (1930). In 1931, she performed with Sylvia Sidney in the film Ladies of the Big House. Her final film performance was as Lola, a prostitute, in Josef von Sternberg's 1932 film Blonde Venus, with Cary Grant and Marlene Dietrich. Preer was lauded by both the black and white press for her ability to continually succeed in ever more challenging roles, "...her roles ran the gamut from villain to heroine an attribute that many black actresses who worked in Hollywood cinema history did not have the privilege or luxury to enjoy." Only her film by Micheaux and three shorts survive. She was known for refusing to play roles that she believed demeaned African Americans.

By the mid-1920s, Preer began garnering attention from the white press, and she began to appear in crossover films and stage parts. In 1923, she acted in the Ethiopian Art Theatre's production of The Chip Woman's Fortune by Willis Richardson. This was the first dramatic play by an African-American playwright to be produced on Broadway, and it lasted two weeks. She met her second husband, Edward Thompson, when they were both acting with the Lafayette Players in Chicago. They married February 4, 1924, in Williamson County, Tennessee. In 1926, Preer appeared on Broadway in David Belasco’s production of Lulu Belle. Preer supported and understudied Lenore Ulric in the leading role of Edward Sheldon's drama of a Harlem prostitute. She garnered acclaim in Sadie Thompson in a West Coast revival of Somerset Maugham’s play about a fallen woman.

She rejoined the Lafayette Players for that production in their first show in Los Angeles at the Lincoln Center. Under the leadership of Robert Levy, Preer and her colleagues performed in the first New York–style play featuring black players to be produced in California. That year, she also appeared in Rain, a play adapted from Maugham's short story by the same name.

Preer also sang in cabaret and musical theater where she was occasionally backed by such diverse musicians as Duke Ellington and Red Nichols early in their careers. Preer was regarded by many as the greatest actress of her time.

Developing post-childbirth complications, Preer died of pneumonia on November 17, 1932, in Los Angeles at the age of 36. Her husband continued as a popular leading man and "heavy" in numerous race films throughout the 1930s and 1940s, and died in 1960.

Their daughter Edeve Thompson converted to Catholicism as a teenager. She later entered the Sisters of St. Francis of Oldenburg, Indiana, where she became known as Sister Francesca Thompson, O.S.F., and became an academic, teaching at both Marian University in Indiana and Fordham University in New York City.

Still from the 1919 Oscar Micheaux film Within Our Gates.

#historical #black history #actress #evelyn preer

[gyamfieric]

some other days...

Directors/Filmmakers from forum Expanded, Berlinale 2024.

#photographies #film #cinema #ghana #Germany #certain winds from the south #african cinema