1 00:00:00,560 --> 00:00:05,520 Speaker 1: What seven weekend breakfast In the profile. 2 00:00:07,320 --> 00:00:09,840 Speaker 2: It's eleven minutes after eight o'clock. 3 00:00:09,880 --> 00:00:12,319 Speaker 3: It is a Sunday morning, which means we get to 4 00:00:12,360 --> 00:00:15,280 Speaker 3: spend time with a fascinating individual as part of our 5 00:00:15,320 --> 00:00:18,040 Speaker 3: in the profile for this week. And this week, we're 6 00:00:18,040 --> 00:00:21,160 Speaker 3: thrilled to be joined by a multi hyphen and someone 7 00:00:21,200 --> 00:00:26,520 Speaker 3: with many immense talented talents. They are an award winning writer, director, 8 00:00:26,800 --> 00:00:31,680 Speaker 3: they're an actress, they are a visual artist, and they 9 00:00:31,680 --> 00:00:34,080 Speaker 3: are a curator. And this morning we're thrilled to be 10 00:00:34,200 --> 00:00:37,320 Speaker 3: joined by Mather tom Monsel as our guest. If we'd 11 00:00:37,400 --> 00:00:39,400 Speaker 3: like to get to know her, we'd like to speak 12 00:00:39,440 --> 00:00:41,559 Speaker 3: to us, send it, give us a call one one 13 00:00:41,680 --> 00:00:44,560 Speaker 3: eight three or seven oh two, send us an SMS 14 00:00:44,800 --> 00:00:48,120 Speaker 3: on three one seven two and your WhatsApp messages seven 15 00:00:48,159 --> 00:00:49,839 Speaker 3: two seven two one seven two. 16 00:00:50,159 --> 00:00:52,640 Speaker 2: Mother to thank you so much for joining us this morning. 17 00:00:52,720 --> 00:00:56,280 Speaker 1: Good morning, good morning, Thank you for having me. 18 00:00:56,240 --> 00:00:58,840 Speaker 3: Thank you, thank you. So Sundays are quite precious for 19 00:00:58,920 --> 00:01:02,040 Speaker 3: some people. They are days of breast, days of prayer. 20 00:01:02,760 --> 00:01:04,880 Speaker 3: How do you normally spend your Sunday if you weren't 21 00:01:05,040 --> 00:01:06,320 Speaker 3: giving us some of your time. 22 00:01:07,440 --> 00:01:09,959 Speaker 1: You know, I'll tell you I don't have a routine. 23 00:01:10,240 --> 00:01:10,600 Speaker 2: Really. 24 00:01:11,319 --> 00:01:13,800 Speaker 1: I know I was reading I can't remember if it 25 00:01:13,880 --> 00:01:16,360 Speaker 1: was on x ra Instagram that I think it was 26 00:01:16,400 --> 00:01:21,000 Speaker 1: an x someone posted that spiders learned our routine right, 27 00:01:21,120 --> 00:01:24,839 Speaker 1: and if you bumped into a spider, it means you're 28 00:01:24,840 --> 00:01:31,200 Speaker 1: out of your routine. Yeah, I'm always bumping into spiders. Yeah, 29 00:01:31,800 --> 00:01:35,840 Speaker 1: just like what's happening? They're like, what's this? It really 30 00:01:35,880 --> 00:01:38,120 Speaker 1: just depends on what I'm working on at the time. 31 00:01:39,240 --> 00:01:40,880 Speaker 1: I mean, at the moment, I am doing what I 32 00:01:40,880 --> 00:01:43,720 Speaker 1: would have been doing in the background. I'm busy backing 33 00:01:43,800 --> 00:01:48,240 Speaker 1: up a bunch of files onto another drive, so I'm 34 00:01:48,320 --> 00:01:50,680 Speaker 1: kind of doing it. Yeah, And so. 35 00:01:51,760 --> 00:01:54,559 Speaker 2: I always feel like you're always working on something. 36 00:01:54,600 --> 00:01:56,880 Speaker 3: There's always something that you're kind of busy with and 37 00:01:56,960 --> 00:01:58,760 Speaker 3: know for all bits and I don't know if it's 38 00:01:58,880 --> 00:02:01,240 Speaker 3: out yet, but there was a a documentary you've been 39 00:02:01,280 --> 00:02:06,480 Speaker 3: working on for some time, Where is the Doctors? That's 40 00:02:06,720 --> 00:02:10,160 Speaker 3: kind of a work in progress. 41 00:02:11,919 --> 00:02:14,440 Speaker 2: I do not reveal my sources. 42 00:02:14,160 --> 00:02:17,200 Speaker 1: Do you not. I won't reveal your laws than you. 43 00:02:19,120 --> 00:02:22,280 Speaker 1: So I've been working on it's actually complete. I was 44 00:02:22,320 --> 00:02:28,040 Speaker 1: working on a documentary about period pains called Marxism and 45 00:02:28,080 --> 00:02:33,280 Speaker 1: Period Pains, so it's looking at how period pains affect 46 00:02:33,840 --> 00:02:37,239 Speaker 1: girls and women in the workplace and at school. So 47 00:02:38,880 --> 00:02:42,880 Speaker 1: just the whole value chain of that economic impact of 48 00:02:43,240 --> 00:02:48,200 Speaker 1: an illness that's not seen as an illness that impacts 49 00:02:48,560 --> 00:02:53,520 Speaker 1: women every month, impacts how they do their job, impacts 50 00:02:53,520 --> 00:02:57,280 Speaker 1: how they complete their studies, whether you're writing exams or not. 51 00:02:58,440 --> 00:03:02,480 Speaker 1: There kind of isn't an acknowledge and that this can 52 00:03:02,600 --> 00:03:06,640 Speaker 1: have a very big impact on your life and your 53 00:03:07,040 --> 00:03:09,200 Speaker 1: economic stability. 54 00:03:09,440 --> 00:03:12,200 Speaker 3: Yeah, And it's kind of this thing that's kind of 55 00:03:13,200 --> 00:03:15,040 Speaker 3: it's sort of this given right that you're just going 56 00:03:15,120 --> 00:03:18,840 Speaker 3: to push through. And you know many women talk about how, 57 00:03:19,080 --> 00:03:21,119 Speaker 3: you know, when they sit for tattoos it doesn't hurt 58 00:03:21,120 --> 00:03:25,360 Speaker 3: that much because they had bad period pains or I 59 00:03:25,400 --> 00:03:29,000 Speaker 3: know I had a kidney store. Yeah, I didn't know 60 00:03:29,040 --> 00:03:30,600 Speaker 3: it was a kidney stone. I just thought it was 61 00:03:30,880 --> 00:03:31,799 Speaker 3: maybe some period pain. 62 00:03:32,080 --> 00:03:34,000 Speaker 2: Turned out it was a kidney story. 63 00:03:34,240 --> 00:03:38,280 Speaker 1: Can you see how bad that pain is? Yeah, because 64 00:03:38,320 --> 00:03:39,280 Speaker 1: kidney stones are bad. 65 00:03:39,560 --> 00:03:42,000 Speaker 3: They're terrible. I wouldn't actually I would wish it on 66 00:03:42,040 --> 00:03:45,760 Speaker 3: my worst enemy. It's that bad. But it's interesting that 67 00:03:45,800 --> 00:03:48,320 Speaker 3: you kind of make this connection right with this when 68 00:03:48,320 --> 00:03:50,280 Speaker 3: we think of our periods and our bodies. 69 00:03:50,320 --> 00:03:51,840 Speaker 2: It's like a deeply personal thing. 70 00:03:52,320 --> 00:03:54,800 Speaker 3: But we never kind of make the connection that if 71 00:03:54,840 --> 00:03:58,280 Speaker 3: half the population, at some point in their lives, most 72 00:03:58,280 --> 00:04:01,520 Speaker 3: of the population is suffering and they're in pain or 73 00:04:01,640 --> 00:04:04,720 Speaker 3: you're nausea, because there also other things. There's floating and 74 00:04:04,840 --> 00:04:07,200 Speaker 3: nausea and you know, all of this terrible. 75 00:04:06,960 --> 00:04:08,920 Speaker 1: Troubles and it can be really stabilitating. 76 00:04:09,160 --> 00:04:11,560 Speaker 3: Yeah, and so we never make the connection between, well, 77 00:04:12,000 --> 00:04:17,160 Speaker 3: if people are feeling unwow, how does that impact school, education, life? 78 00:04:17,400 --> 00:04:17,599 Speaker 2: Right? 79 00:04:18,200 --> 00:04:23,080 Speaker 1: Because you yeah, I mean certainly the thought arise to us. 80 00:04:23,160 --> 00:04:28,000 Speaker 1: We experience it, but we don't validate it. So when 81 00:04:28,080 --> 00:04:32,000 Speaker 1: I started thinking about it, I used to be an 82 00:04:32,040 --> 00:04:37,800 Speaker 1: actor of course, right, which means you are you are 83 00:04:37,839 --> 00:04:40,359 Speaker 1: on camera, so whatever you're feeling, you kind of have 84 00:04:40,440 --> 00:04:44,920 Speaker 1: to look like you're not you're okay, right, And I 85 00:04:44,920 --> 00:04:47,760 Speaker 1: started to think, Okay, what would happen if I was 86 00:04:47,760 --> 00:04:50,200 Speaker 1: on a production where I was a call actor Because 87 00:04:50,360 --> 00:04:52,160 Speaker 1: a lot of actors, most of the actors in the 88 00:04:52,200 --> 00:04:56,320 Speaker 1: country I actually call actors, which means you're getting paid 89 00:04:56,839 --> 00:04:58,680 Speaker 1: only for the day that you have been called. You're 90 00:04:58,720 --> 00:05:02,320 Speaker 1: not getting a monthly se right, So if you're a 91 00:05:02,360 --> 00:05:05,440 Speaker 1: call actor and on that particular day you happened to 92 00:05:05,520 --> 00:05:08,240 Speaker 1: be sick, you would not get paid for that day 93 00:05:08,279 --> 00:05:12,000 Speaker 1: because you didn't show up that day, right, And all 94 00:05:12,040 --> 00:05:14,280 Speaker 1: the scenes you may have had to shoot that they 95 00:05:14,320 --> 00:05:17,960 Speaker 1: may be kind of like compounded into another day. So 96 00:05:18,120 --> 00:05:21,039 Speaker 1: essentially be doing two days of work in one day 97 00:05:21,240 --> 00:05:22,560 Speaker 1: and getting paid for that one day. 98 00:05:22,640 --> 00:05:22,839 Speaker 2: Right. 99 00:05:23,480 --> 00:05:25,720 Speaker 1: But there's a lot of people who work like that. 100 00:05:25,720 --> 00:05:27,480 Speaker 1: There are a lot of people who get paid by 101 00:05:27,520 --> 00:05:32,400 Speaker 1: the hour, by the call on the day, and a 102 00:05:32,400 --> 00:05:35,400 Speaker 1: lot of those people are women. Right. So it means 103 00:05:35,640 --> 00:05:38,719 Speaker 1: you push through, You show up at work even when 104 00:05:38,720 --> 00:05:43,160 Speaker 1: you are in pain, and that already affects how at 105 00:05:43,160 --> 00:05:48,680 Speaker 1: what level you can work. Right. You can just imagine 106 00:05:48,760 --> 00:05:50,960 Speaker 1: maybe a school girl, which is one of the people 107 00:05:51,000 --> 00:05:54,760 Speaker 1: that I interview in the documentary, setting for an exam, 108 00:05:55,320 --> 00:05:58,279 Speaker 1: and you've got this stabilitating paint, but you know that 109 00:05:59,400 --> 00:06:02,040 Speaker 1: if you don't, you won't necessarily go to the doctor 110 00:06:02,120 --> 00:06:04,599 Speaker 1: every single month to get a doctor's note every single 111 00:06:04,640 --> 00:06:10,160 Speaker 1: month for prapeans, because that's also an expense. So we 112 00:06:09,880 --> 00:06:12,800 Speaker 1: we go through it, but we just push through it. 113 00:06:13,160 --> 00:06:15,520 Speaker 1: And we've been conditioned to kind of accept that this 114 00:06:15,640 --> 00:06:20,040 Speaker 1: is our lot. It's not something that we can validate 115 00:06:20,080 --> 00:06:24,240 Speaker 1: as a legitimate excuse, not even excuse, a legitimate reason 116 00:06:24,920 --> 00:06:29,640 Speaker 1: to miss work and therefore have the workplace kind of 117 00:06:29,839 --> 00:06:33,680 Speaker 1: arranged itself around this monthly thing that happens to the 118 00:06:33,720 --> 00:06:35,680 Speaker 1: majority of the people in the job. 119 00:06:36,960 --> 00:06:39,600 Speaker 3: And so, who did you speak to for the documentary? 120 00:06:39,600 --> 00:06:40,839 Speaker 3: Without giving away too much? 121 00:06:41,120 --> 00:06:46,000 Speaker 1: And now to give about the Dutch, it's even beyond 122 00:06:46,000 --> 00:06:54,400 Speaker 1: the break. I spoke to school girls. Some of them 123 00:06:54,520 --> 00:06:57,080 Speaker 1: are part of a debating team, so they've got like 124 00:06:57,440 --> 00:07:01,360 Speaker 1: very very developed opinions around which I enjoyed a lot. 125 00:07:02,800 --> 00:07:07,039 Speaker 1: I spoke to people from the medical field, of course, 126 00:07:07,120 --> 00:07:10,680 Speaker 1: and then I spoke to women who work so that 127 00:07:10,720 --> 00:07:12,920 Speaker 1: they can also give their perspective on this. Altogether, I 128 00:07:12,960 --> 00:07:18,560 Speaker 1: spoke to about eighteen people. There's a dancer, there's someone 129 00:07:18,600 --> 00:07:23,760 Speaker 1: who works in the film industry, there's an athlete. You know, 130 00:07:23,800 --> 00:07:28,240 Speaker 1: we never think when you're watching people run a marathon 131 00:07:28,640 --> 00:07:32,800 Speaker 1: or serena playing a tennis match or you know, women's 132 00:07:32,800 --> 00:07:35,160 Speaker 1: soccer or whatever it is, that how many of these 133 00:07:35,160 --> 00:07:37,560 Speaker 1: women are actually on their period and what does it 134 00:07:38,000 --> 00:07:40,520 Speaker 1: How is it affecting their performance at that particular time. 135 00:07:40,560 --> 00:07:42,400 Speaker 1: I mean, there's a lot of science that's coming out 136 00:07:42,440 --> 00:07:47,440 Speaker 1: about it now, but yeah, I tried to draw a 137 00:07:47,520 --> 00:07:52,800 Speaker 1: very comprehensive picture. So it's a very pedagogic documentary, but 138 00:07:53,760 --> 00:07:57,280 Speaker 1: I believe that it is very accessible. I also use 139 00:07:57,400 --> 00:08:02,280 Speaker 1: quite a bit of archive, which is kind of way 140 00:08:03,400 --> 00:08:05,280 Speaker 1: I'd say. The pause is because you know, you have 141 00:08:05,320 --> 00:08:08,760 Speaker 1: to negotiate the rights, the clear and blah blah blah, 142 00:08:08,920 --> 00:08:12,480 Speaker 1: and so really, once that that kind of situation has 143 00:08:12,520 --> 00:08:16,400 Speaker 1: been sorted, I'll be ready to put the documentary out. 144 00:08:16,560 --> 00:08:19,960 Speaker 3: Yeah, okay, I'm very excited to see it. You mentioned 145 00:08:19,960 --> 00:08:22,720 Speaker 3: something quite interesting just as you were kind of explaining 146 00:08:22,720 --> 00:08:24,720 Speaker 3: some of the people you spoke to and kind of 147 00:08:24,760 --> 00:08:27,640 Speaker 3: how it is that you know, period pain and sometimes 148 00:08:27,680 --> 00:08:31,160 Speaker 3: the associated discomfort impact our work, and you said you 149 00:08:31,280 --> 00:08:34,720 Speaker 3: used to be an actor, which I thought was interesting 150 00:08:35,640 --> 00:08:40,840 Speaker 3: that because that could mean have you retired from acting? 151 00:08:41,400 --> 00:08:41,720 Speaker 1: Have you? 152 00:08:42,679 --> 00:08:44,840 Speaker 3: I guess you're focusing on the other things, Like a 153 00:08:44,840 --> 00:08:47,480 Speaker 3: couple of years ago you did that beautiful series on 154 00:08:47,880 --> 00:08:52,800 Speaker 3: Oh My Mommo. The Visual Arts, and you know you're directing, 155 00:08:53,160 --> 00:08:54,400 Speaker 3: you're doing festivals. 156 00:08:54,760 --> 00:08:56,960 Speaker 2: So when you say you used to be an actor, 157 00:08:57,800 --> 00:08:59,679 Speaker 2: what does that mean? I'm curious. 158 00:09:00,080 --> 00:09:04,960 Speaker 1: Yeah, Well, I wouldn't say retired because I've never like 159 00:09:05,000 --> 00:09:08,840 Speaker 1: sat down and said I am retiring, but I haven't 160 00:09:09,080 --> 00:09:13,000 Speaker 1: acted since happiness is a faller to word, which was 161 00:09:13,080 --> 00:09:17,280 Speaker 1: like ten years ago. It's the tenth and eversary this year. Yes, 162 00:09:17,400 --> 00:09:20,800 Speaker 1: so I don't know. It's difficult to speak about it 163 00:09:20,840 --> 00:09:23,720 Speaker 1: in present tense if I'm not actively doing it or 164 00:09:23,760 --> 00:09:25,679 Speaker 1: actively looking to. 165 00:09:25,720 --> 00:09:26,480 Speaker 2: Do it, you know. 166 00:09:26,760 --> 00:09:30,720 Speaker 1: So yeah, I wouldn't. Maybe that's a fraid and slip. 167 00:09:31,160 --> 00:09:34,960 Speaker 1: But it's not like a concluded decision that I will 168 00:09:35,000 --> 00:09:38,320 Speaker 1: not do this anymore. I just haven't. Yeah, I just 169 00:09:38,400 --> 00:09:41,440 Speaker 1: have not done it. Do people still. 170 00:09:41,120 --> 00:09:43,560 Speaker 3: I know South Africans kind of hold on to like 171 00:09:43,640 --> 00:09:47,520 Speaker 3: shows and roles and do people still refer to you 172 00:09:47,920 --> 00:09:50,800 Speaker 3: as if you are currently acting? As if, like, like 173 00:09:50,880 --> 00:09:52,360 Speaker 3: you said, so happen. It is a fall letter word. 174 00:09:52,360 --> 00:09:54,880 Speaker 3: Its anniversary was I think eighteenth the fab this year. 175 00:09:55,520 --> 00:10:00,760 Speaker 3: Do you speak to you as if you are still acting? 176 00:10:02,400 --> 00:10:05,240 Speaker 1: Yes? They do. I mean I was. I was at 177 00:10:05,280 --> 00:10:10,400 Speaker 1: a shopping center last weekend and I left my window 178 00:10:10,440 --> 00:10:15,959 Speaker 1: open by mistake, and the one of the parking attendants 179 00:10:16,200 --> 00:10:18,280 Speaker 1: was like, you know, I was looking for you. Ever, 180 00:10:18,400 --> 00:10:20,640 Speaker 1: I kept on saying to them the lady from Rhythm 181 00:10:20,640 --> 00:10:25,040 Speaker 1: City Rhythm, and I'm like, oh, then nobody was going 182 00:10:25,080 --> 00:10:32,200 Speaker 1: to find me. So you know, people stick with the 183 00:10:32,320 --> 00:10:35,800 Speaker 1: characters that moved them and in their head that's where 184 00:10:36,840 --> 00:10:41,720 Speaker 1: you know, that's where you still are. So yeah, I 185 00:10:41,760 --> 00:10:44,720 Speaker 1: was just laughing because I was thinking, geez, I didn't 186 00:10:44,720 --> 00:10:47,079 Speaker 1: think anyone would described me using Rhythm City. I was 187 00:10:47,080 --> 00:10:50,360 Speaker 1: there like for such a short time. It's the last Yeah, 188 00:10:50,400 --> 00:10:52,760 Speaker 1: so people do really do that. 189 00:10:53,040 --> 00:11:01,040 Speaker 3: Yeah, Generations The Generations was of big is it now? 190 00:11:01,040 --> 00:11:03,000 Speaker 2: It's so big? But not as big as it was? 191 00:11:03,520 --> 00:11:05,880 Speaker 2: Well you were, I. 192 00:11:05,840 --> 00:11:08,640 Speaker 1: Mean I was there for two years, right, but you'd 193 00:11:08,679 --> 00:11:12,000 Speaker 1: think I was there for a decade. I was literally 194 00:11:12,040 --> 00:11:14,559 Speaker 1: only there for two years. There was an uncle of 195 00:11:14,559 --> 00:11:17,760 Speaker 1: mine who who used to call me Lunka until I've 196 00:11:17,760 --> 00:11:21,680 Speaker 1: threatened him because I'm like, how am I luminatean? Like really? 197 00:11:22,760 --> 00:11:27,120 Speaker 1: But yeah, that that does happen a lot more. And 198 00:11:27,520 --> 00:11:30,720 Speaker 1: the character from Jacob's Cross, especially like when I'm in 199 00:11:30,760 --> 00:11:35,120 Speaker 1: the Continent, people will say, oh, little Maculu, you know, 200 00:11:36,640 --> 00:11:40,600 Speaker 1: but yeah, it does. It does still happen. People do 201 00:11:40,760 --> 00:11:42,920 Speaker 1: really still treat me primarily as an actor. When you're 202 00:11:42,920 --> 00:11:46,800 Speaker 1: behind the scenes, people don't know except for the people 203 00:11:46,840 --> 00:11:50,640 Speaker 1: that really are like cinephiles and into into that. The 204 00:11:50,679 --> 00:11:54,400 Speaker 1: people who watch the credits. Who who are like super 205 00:11:54,440 --> 00:11:59,360 Speaker 1: fans of particular types of of of formats like short 206 00:11:59,400 --> 00:12:04,120 Speaker 1: films and whatnot. They really do both above and beyond. 207 00:12:04,120 --> 00:12:07,400 Speaker 1: They'll know who wrote their favorite episode, they'll know who 208 00:12:07,440 --> 00:12:09,640 Speaker 1: directed it. You know, they'll be in the know. 209 00:12:09,960 --> 00:12:13,240 Speaker 3: Yeah, And so it has been ten years of happiness 210 00:12:13,280 --> 00:12:15,640 Speaker 3: is of for a less word? And in that decade, 211 00:12:15,960 --> 00:12:18,559 Speaker 3: how has the I guess the local. 212 00:12:18,320 --> 00:12:19,720 Speaker 2: Movie scene changed. 213 00:12:19,760 --> 00:12:24,160 Speaker 3: Obviously we know there's that big disruption twenty twenty, twenty 214 00:12:24,200 --> 00:12:26,920 Speaker 3: twenty one into some I think to some degree twenty 215 00:12:26,960 --> 00:12:29,800 Speaker 3: twenty two as well. But I've always found the South 216 00:12:29,840 --> 00:12:32,640 Speaker 3: African industry so interesting. We have all of this talent, 217 00:12:32,679 --> 00:12:37,960 Speaker 3: We're incredible talent, but it just seems the industry can't 218 00:12:38,000 --> 00:12:41,600 Speaker 3: get the right kind of support from the consumer, from 219 00:12:41,720 --> 00:12:44,720 Speaker 3: the how's that be? But we have it seems like 220 00:12:44,760 --> 00:12:46,920 Speaker 3: we have all the right ingredients, we just can't get 221 00:12:46,960 --> 00:12:48,560 Speaker 3: this meal right. 222 00:12:48,960 --> 00:12:50,599 Speaker 2: Is that a fair assessment? 223 00:12:52,640 --> 00:12:55,840 Speaker 1: I mean it certainly is. I mean, tell me quickly 224 00:12:55,880 --> 00:12:59,480 Speaker 1: about twenty twenty two. You said twenty twenty and then 225 00:12:59,520 --> 00:13:02,160 Speaker 1: twenty two two. What happened in twenty twenty two? 226 00:13:02,160 --> 00:13:04,560 Speaker 3: Well, I just think the kind of the drag from 227 00:13:04,559 --> 00:13:07,720 Speaker 3: what happened in twenty twenty and twenty twenty one essentially 228 00:13:07,760 --> 00:13:10,800 Speaker 3: shut down and people had no support. I think that 229 00:13:10,960 --> 00:13:13,920 Speaker 3: kind of continued, I mean never moved on, but I 230 00:13:13,960 --> 00:13:18,720 Speaker 3: think the industry still felt that pinch even into twenty two. 231 00:13:18,760 --> 00:13:22,520 Speaker 1: I think, yeah, yeah, oh absolutely. I mean until today, 232 00:13:22,520 --> 00:13:27,319 Speaker 1: there's companies that never recovered, like at all. And if 233 00:13:27,320 --> 00:13:30,800 Speaker 1: you think about what's happening right now with the with 234 00:13:30,840 --> 00:13:34,800 Speaker 1: the issues that they tet, I see and that kind 235 00:13:34,840 --> 00:13:39,280 Speaker 1: of fund being stalled has had even like a bigger 236 00:13:39,320 --> 00:13:43,280 Speaker 1: impact and ongoing impact. You know, there have been some 237 00:13:43,400 --> 00:13:46,560 Speaker 1: wins and some losses. I mean, I'm seeing a lot 238 00:13:46,600 --> 00:13:51,480 Speaker 1: more black women directors, which is very exciting for me 239 00:13:51,559 --> 00:13:54,640 Speaker 1: because you know, when I started directing, we really really 240 00:13:54,640 --> 00:13:57,840 Speaker 1: were a handful, and now I'm seeing a lot more 241 00:13:57,840 --> 00:13:59,679 Speaker 1: of them. And they're also doing very well in the 242 00:13:59,760 --> 00:14:04,200 Speaker 1: film festival circuits around the world, not just here. And 243 00:14:04,240 --> 00:14:09,679 Speaker 1: then there's the arrival of the streamers as well, which 244 00:14:09,720 --> 00:14:13,080 Speaker 1: at face value may look exciting and like, hey, here's 245 00:14:13,080 --> 00:14:16,120 Speaker 1: the job opportunities and whatnot, but you have to consider 246 00:14:16,240 --> 00:14:21,360 Speaker 1: then that a lot of the South African narrative is 247 00:14:21,400 --> 00:14:29,880 Speaker 1: being dictated by foreign organizations, you know, and that has 248 00:14:29,920 --> 00:14:34,000 Speaker 1: an impact not only on the practitioners where in the industry, 249 00:14:34,000 --> 00:14:38,480 Speaker 1: but on the country because what you see, what is 250 00:14:38,480 --> 00:14:42,680 Speaker 1: being spoken about, what gets covered, is being dictated by 251 00:14:42,720 --> 00:14:46,200 Speaker 1: somebody who may not necessarily have your interests at heart, 252 00:14:47,320 --> 00:14:50,720 Speaker 1: or who may not understand the specific nuances of your country, 253 00:14:51,920 --> 00:14:57,320 Speaker 1: and may or may not deliberately avoid certain political perspectives 254 00:14:57,440 --> 00:14:59,680 Speaker 1: and things that should be spoken about and that should 255 00:14:59,680 --> 00:15:03,560 Speaker 1: be covered and discussed as a country. You know so, 256 00:15:04,600 --> 00:15:07,240 Speaker 1: And they also don't have the mandate that the SABC 257 00:15:07,440 --> 00:15:12,320 Speaker 1: has to educate, to uplift, to reflect, to do language 258 00:15:12,320 --> 00:15:16,400 Speaker 1: a certain way. So there's a big I think there's 259 00:15:16,400 --> 00:15:19,200 Speaker 1: a huge, huge lost from that perspective. We're very excited 260 00:15:19,240 --> 00:15:21,520 Speaker 1: that our stuff is being seen by the world, but 261 00:15:22,160 --> 00:15:26,520 Speaker 1: we are not paying attention to how the narrative is 262 00:15:26,560 --> 00:15:30,640 Speaker 1: being shaped and it's not necessarily to our benefit. And 263 00:15:30,680 --> 00:15:32,600 Speaker 1: then on top of that, a lot of that work 264 00:15:32,680 --> 00:15:36,720 Speaker 1: is commissioned. So a commission just for the people who 265 00:15:37,200 --> 00:15:41,880 Speaker 1: are listening and may not know is when the streamer 266 00:15:42,160 --> 00:15:48,400 Speaker 1: or the broadcaster finances the whole funds the whole production, 267 00:15:48,960 --> 00:15:53,360 Speaker 1: which means they own that production. So it's not only 268 00:15:55,560 --> 00:15:59,320 Speaker 1: narrative ownership, it's also actual ownership of the product, so 269 00:15:59,400 --> 00:16:03,080 Speaker 1: it becomes extractive. You come into the country and make 270 00:16:03,160 --> 00:16:05,800 Speaker 1: all these shows, you own them, and there is no 271 00:16:05,920 --> 00:16:09,560 Speaker 1: reversion clause in the contract, you know, to say after 272 00:16:09,640 --> 00:16:12,680 Speaker 1: ten years it goes back to the producer and whatnot. 273 00:16:13,040 --> 00:16:17,400 Speaker 1: So the country is essentially being turned into service providers, right, 274 00:16:17,480 --> 00:16:19,800 Speaker 1: think about it like a service industry as opposed to 275 00:16:19,880 --> 00:16:21,280 Speaker 1: a creative industry. 276 00:16:21,920 --> 00:16:22,760 Speaker 2: And is this why? 277 00:16:22,880 --> 00:16:24,280 Speaker 1: I think that's a huge problem. 278 00:16:24,440 --> 00:16:27,080 Speaker 3: Yeah, is this why? Then you were saying that kind 279 00:16:27,080 --> 00:16:28,840 Speaker 3: of what's happening with Show Max. You know, Show Max 280 00:16:28,960 --> 00:16:31,120 Speaker 3: is wrapping up its operations in a couple of weeks 281 00:16:31,360 --> 00:16:33,400 Speaker 3: that you're saying it's a great case study on why 282 00:16:33,440 --> 00:16:36,840 Speaker 3: South African film and TV makers must be supported in 283 00:16:36,920 --> 00:16:40,120 Speaker 3: owning IP because, like you say, so, you get commissioned 284 00:16:40,120 --> 00:16:43,800 Speaker 3: to do something, you don't own the thing you make. 285 00:16:44,400 --> 00:16:46,560 Speaker 3: And now the thing you made in a couple of 286 00:16:46,600 --> 00:16:50,080 Speaker 3: weeks is coming off the platform. You don't you as 287 00:16:50,080 --> 00:16:52,200 Speaker 3: a person that made it, that shot it and whatever, 288 00:16:52,400 --> 00:16:55,080 Speaker 3: you don't have a say as to what happens to 289 00:16:55,160 --> 00:16:55,760 Speaker 3: that work. 290 00:16:56,160 --> 00:16:57,400 Speaker 2: You know, for instance, if. 291 00:16:57,320 --> 00:17:00,000 Speaker 1: It was even worse, South Africa doesn't have a say. 292 00:17:00,040 --> 00:17:02,560 Speaker 1: It doesn't even belong to the country, right, Because say, 293 00:17:02,560 --> 00:17:06,120 Speaker 1: for example, it was on SADC and it wasn't yours 294 00:17:06,400 --> 00:17:10,680 Speaker 1: as a producer, it still at least belongs to the country, right. 295 00:17:11,520 --> 00:17:15,919 Speaker 3: So yeah, ah, so stuff that would have belonged to 296 00:17:16,040 --> 00:17:19,040 Speaker 3: Show Max and Multi Choice here is now friend owned 297 00:17:19,280 --> 00:17:20,960 Speaker 3: because Multi Choice is now Friends owned. 298 00:17:21,520 --> 00:17:24,760 Speaker 1: Yes, essentially, you know what I mean. I mean I 299 00:17:24,760 --> 00:17:28,360 Speaker 1: don't know the absolute details, but it would mean if 300 00:17:28,359 --> 00:17:31,879 Speaker 1: you own now this, it now belongs to the French 301 00:17:32,400 --> 00:17:34,400 Speaker 1: and not only the product the idea. 302 00:17:35,119 --> 00:17:35,320 Speaker 3: Right. 303 00:17:35,440 --> 00:17:38,280 Speaker 1: Because let's say, for example, you're doing an adaptation of 304 00:17:38,320 --> 00:17:42,840 Speaker 1: a show I might license I mean adaptation of a book. 305 00:17:42,960 --> 00:17:47,639 Speaker 1: I might license the right to make the show of 306 00:17:47,720 --> 00:17:50,560 Speaker 1: your book, right, and then me as the producer, I 307 00:17:50,640 --> 00:17:54,919 Speaker 1: might own the film, but you still own the intellectual 308 00:17:55,040 --> 00:17:57,680 Speaker 1: You still own your characters of your book, you still 309 00:17:57,720 --> 00:18:00,919 Speaker 1: own your book, you still own the story, right. I 310 00:18:01,000 --> 00:18:06,000 Speaker 1: might just own the product called the film. We don't 311 00:18:06,000 --> 00:18:08,440 Speaker 1: even own the idea. So it's not like I can 312 00:18:08,560 --> 00:18:12,960 Speaker 1: just go and remake If my show was commissioned, for example, 313 00:18:13,400 --> 00:18:18,760 Speaker 1: and I pitched this idea, it's even the idea the 314 00:18:18,960 --> 00:18:21,600 Speaker 1: characters that you named in that you come up with, 315 00:18:21,640 --> 00:18:23,400 Speaker 1: and you say this is this cast. You don't even 316 00:18:23,440 --> 00:18:25,800 Speaker 1: own that, so you can't go remake it, right aftually 317 00:18:26,240 --> 00:18:28,000 Speaker 1: you see, Yeah, and. 318 00:18:27,960 --> 00:18:32,600 Speaker 3: So in addition to creatives owning IP, does it also 319 00:18:32,640 --> 00:18:36,560 Speaker 3: then speak to a need for diversity of platforms because 320 00:18:36,560 --> 00:18:40,560 Speaker 3: at the moment, in terms of terrestrial with the SAVC 321 00:18:40,640 --> 00:18:43,119 Speaker 3: which has its own challenges with maunch choices, they have 322 00:18:43,160 --> 00:18:47,080 Speaker 3: their own challenges with ETV. Granted, their other kind of 323 00:18:47,520 --> 00:18:50,040 Speaker 3: products that we can get via DStv, but for the 324 00:18:50,040 --> 00:18:54,080 Speaker 3: most part, people aren't commissioning those channels on commissioning work. 325 00:18:54,680 --> 00:18:56,879 Speaker 3: And then we have the streamers, so you know, the 326 00:18:56,960 --> 00:19:00,480 Speaker 3: Netflix is the Amazon, Primes, Apple TVs, the show maxims, 327 00:19:00,520 --> 00:19:03,480 Speaker 3: but again only a small handful of them are commissioning 328 00:19:03,760 --> 00:19:07,639 Speaker 3: local content, and even then it's very specific local content. 329 00:19:07,720 --> 00:19:07,840 Speaker 1: Right. 330 00:19:07,880 --> 00:19:11,119 Speaker 3: I haven't seen as a documentary on savuope from one 331 00:19:11,160 --> 00:19:11,959 Speaker 3: of the streamers. 332 00:19:12,040 --> 00:19:15,800 Speaker 2: They might commission someone outside. And so is it in addition. 333 00:19:15,440 --> 00:19:20,040 Speaker 3: To the IP we also need more platforms? Is more 334 00:19:20,240 --> 00:19:23,040 Speaker 3: the solution or do we need to for instance, the 335 00:19:23,200 --> 00:19:27,360 Speaker 3: SABC needs to be better able to deliver on its 336 00:19:27,359 --> 00:19:28,520 Speaker 3: public mandates. 337 00:19:29,880 --> 00:19:32,640 Speaker 1: You know, I haven't really sort of links about what 338 00:19:33,119 --> 00:19:36,840 Speaker 1: more looks like, right, but certainly we do want the 339 00:19:36,960 --> 00:19:40,600 Speaker 1: SABC to work. And then we need at a policy level, 340 00:19:40,880 --> 00:19:44,159 Speaker 1: it needs to cover all of those platforms. Do you 341 00:19:44,200 --> 00:19:46,800 Speaker 1: see what I mean? They should be that if you 342 00:19:46,920 --> 00:19:49,920 Speaker 1: work in this country, if you come with your streamer 343 00:19:50,119 --> 00:19:52,800 Speaker 1: or your your channel, your whatever in this country, or 344 00:19:52,840 --> 00:19:57,879 Speaker 1: even if you are a South African broadcast company owner. 345 00:19:58,320 --> 00:20:03,360 Speaker 1: They should be policy frameworks that speak to all those 346 00:20:03,400 --> 00:20:12,640 Speaker 1: things that we've just discussed, equity, IP reversion clauses as 347 00:20:12,640 --> 00:20:18,480 Speaker 1: a standard, what kind of content percentage must be there 348 00:20:18,520 --> 00:20:23,320 Speaker 1: for for effect, like for example, these local government elections 349 00:20:23,320 --> 00:20:27,919 Speaker 1: coming up soon this year, and nothing on the screens 350 00:20:28,000 --> 00:20:31,200 Speaker 1: is going to reflect that, you know, so it things 351 00:20:31,200 --> 00:20:34,040 Speaker 1: like that should be just mandated that if you're going 352 00:20:34,080 --> 00:20:36,719 Speaker 1: to work in those country. This is our language policies, 353 00:20:37,040 --> 00:20:40,200 Speaker 1: this is our content policy, this is our education policy, 354 00:20:41,280 --> 00:20:46,399 Speaker 1: these are the IP rules, and this is this is 355 00:20:46,440 --> 00:20:51,040 Speaker 1: how much you must invest back into the country. Those 356 00:20:51,040 --> 00:20:54,800 Speaker 1: things should cover the existing platforms before we can think 357 00:20:54,840 --> 00:20:58,320 Speaker 1: about I think more and more and more and more, 358 00:20:58,320 --> 00:21:01,720 Speaker 1: what is the foundation? We need to fix the foundation first. Yeah, 359 00:21:02,359 --> 00:21:06,000 Speaker 1: get that right, and I think they'll be they'll be different. 360 00:21:06,280 --> 00:21:06,520 Speaker 2: Yeah. 361 00:21:06,920 --> 00:21:09,600 Speaker 3: If you've just joined us, we are speaking to award 362 00:21:09,640 --> 00:21:13,480 Speaker 3: winning writer, director, visual artist, Mava too Monso. She is 363 00:21:13,520 --> 00:21:16,119 Speaker 3: our profile guest this morning, and so we have the 364 00:21:16,160 --> 00:21:19,720 Speaker 3: great pleasure of getting into one of our most creative minds. 365 00:21:19,800 --> 00:21:21,600 Speaker 3: And you can call us on no Double one eighty 366 00:21:21,640 --> 00:21:23,919 Speaker 3: three or seven oh two, send us yes, Sumacs on 367 00:21:24,040 --> 00:21:26,320 Speaker 3: three one seven oh two, and your WhatsApps on seven 368 00:21:26,320 --> 00:21:28,800 Speaker 3: two seven oh two one seven oh two. We continue 369 00:21:28,880 --> 00:21:31,760 Speaker 3: our conversation with Mabato in a short moment, but first 370 00:21:31,800 --> 00:21:34,479 Speaker 3: it's twenty eight minutes before nine o'clock. Time to check 371 00:21:34,520 --> 00:21:36,639 Speaker 3: you with your latest I witnessed a new sport with 372 00:21:36,760 --> 00:21:37,720 Speaker 3: the Tato Mulatto. 373 00:21:38,359 --> 00:21:42,760 Speaker 1: Welcome seven two weekend breakfast in the profile. 374 00:21:44,920 --> 00:21:47,880 Speaker 3: It's nineteen minutes before nine o'clock. Welcome back to seven 375 00:21:47,920 --> 00:21:49,960 Speaker 3: oh two. We can breakfast with me, gooks and klogm. 376 00:21:50,000 --> 00:21:52,240 Speaker 3: It's a Sunday morning, so we are in the profile 377 00:21:52,280 --> 00:21:54,960 Speaker 3: and this morning we're thrilled to have time with award 378 00:21:55,000 --> 00:21:58,440 Speaker 3: winning writer, director and visual artist at Mabato Monsaux. 379 00:21:58,480 --> 00:21:59,439 Speaker 2: She joins us this morning. 380 00:21:59,520 --> 00:22:01,600 Speaker 3: We take your calls on double one A three h 381 00:22:01,600 --> 00:22:03,920 Speaker 3: seven oh two and y's a messis I'm tree on 382 00:22:04,000 --> 00:22:07,200 Speaker 3: seven o two seven two seven o two one seven 383 00:22:07,240 --> 00:22:11,040 Speaker 3: oh two. Mother told we were speaking just before the 384 00:22:11,240 --> 00:22:14,199 Speaker 3: break about some of the I guess work to be 385 00:22:14,280 --> 00:22:18,400 Speaker 3: done in the South African industry. And I asked our 386 00:22:18,720 --> 00:22:22,080 Speaker 3: sports guyto if he has a movie that he keeps 387 00:22:22,119 --> 00:22:24,679 Speaker 3: going back to because you know she he loves it. 388 00:22:25,040 --> 00:22:27,600 Speaker 3: Do you have a film and not necessarily because of 389 00:22:27,600 --> 00:22:29,560 Speaker 3: the acting. Maybe it's a film you love because of 390 00:22:29,600 --> 00:22:31,840 Speaker 3: the director and the way it was shot or the 391 00:22:31,840 --> 00:22:34,320 Speaker 3: way it was scored. Is there a film that you 392 00:22:34,440 --> 00:22:37,760 Speaker 3: keep returning to and every time you watch it you're like, ah, 393 00:22:37,800 --> 00:22:39,320 Speaker 3: this is why I keep watching this film. 394 00:22:41,119 --> 00:22:44,240 Speaker 1: Yeah, you know, there's a few. I watched Pretty Woman 395 00:22:44,400 --> 00:22:44,840 Speaker 1: quite a bit. 396 00:22:45,040 --> 00:22:47,159 Speaker 2: I love Pretty Woman so much. I have an on DVD. 397 00:22:48,040 --> 00:22:54,240 Speaker 1: Yeah, BROKOVI, I don't know how they are. 398 00:22:54,600 --> 00:22:56,720 Speaker 2: I was about to say, I'm seeing that It. 399 00:22:58,880 --> 00:23:03,080 Speaker 1: The Devil was priduc Yeah. And then I've got a 400 00:23:03,119 --> 00:23:06,359 Speaker 1: bunch of ad house films gay that I watch a 401 00:23:06,359 --> 00:23:08,440 Speaker 1: lot that I don't think anyone will know what I'm 402 00:23:08,480 --> 00:23:10,080 Speaker 1: talking about. You don't know. 403 00:23:10,119 --> 00:23:12,640 Speaker 3: Watch the second table as part it's coming out. May 404 00:23:12,840 --> 00:23:15,520 Speaker 3: I think I'm nervous. 405 00:23:15,560 --> 00:23:17,840 Speaker 1: I guess I will. I thought it was complete. I 406 00:23:17,880 --> 00:23:22,320 Speaker 1: think that premise was done. Hey, but yeah, we'll see. 407 00:23:22,520 --> 00:23:23,080 Speaker 1: Let's see. 408 00:23:23,240 --> 00:23:25,680 Speaker 2: Are you gonna go, I'm nervous. I think I'm also 409 00:23:25,800 --> 00:23:28,320 Speaker 2: nervous again, I am. It's on DVD. I loved it 410 00:23:28,359 --> 00:23:30,199 Speaker 2: so much. I said I must have it on DVD 411 00:23:30,560 --> 00:23:31,680 Speaker 2: and when it ended. 412 00:23:32,200 --> 00:23:36,359 Speaker 1: So much and the TVD no, I don't. 413 00:23:36,119 --> 00:23:40,679 Speaker 3: Have a DVD player, I need to find one, and 414 00:23:40,720 --> 00:23:42,520 Speaker 3: I don't know why. Also, I do want to move 415 00:23:42,560 --> 00:23:46,280 Speaker 3: back to DVDs because with streaming, the thing can just 416 00:23:46,359 --> 00:23:47,639 Speaker 3: disappear overnight. 417 00:23:48,800 --> 00:23:52,800 Speaker 1: Why don't like that? I was watching Fight Club on 418 00:23:53,359 --> 00:23:56,919 Speaker 1: countdowns like one day left and it's like, oh my gosh. 419 00:23:56,960 --> 00:23:59,240 Speaker 1: Now I wasn't ready, but now I just have to 420 00:23:59,280 --> 00:24:02,119 Speaker 1: watch it quickly. The way am I going to find it? 421 00:24:02,520 --> 00:24:04,960 Speaker 3: Yeah, so a friend has offered me a DVD player. 422 00:24:05,000 --> 00:24:06,840 Speaker 3: He was like, if you I have actually had one. 423 00:24:06,960 --> 00:24:09,359 Speaker 3: He was like, just text me. You've actually reminded me. 424 00:24:09,680 --> 00:24:13,320 Speaker 3: I'm this messaging, So what dere was product? I also 425 00:24:13,320 --> 00:24:15,879 Speaker 3: thought it was complete. I thought that art was beautiful 426 00:24:15,960 --> 00:24:19,440 Speaker 3: and that it ended that way. And so I don't 427 00:24:19,560 --> 00:24:23,480 Speaker 3: know how I'm feeling about the second one, but I might. 428 00:24:23,800 --> 00:24:26,879 Speaker 3: I might watch it just to see, yeah, but not 429 00:24:27,000 --> 00:24:30,120 Speaker 3: be too hopeful, because sequels are such a funny thing. 430 00:24:32,560 --> 00:24:35,240 Speaker 3: They're a very very funny thing. Before we move on, 431 00:24:35,280 --> 00:24:39,159 Speaker 3: I just want to read this message. As Sandy Lez says, Hey, ladies, 432 00:24:39,200 --> 00:24:42,000 Speaker 3: I grew up watching and admiring Mabattle her career as 433 00:24:42,000 --> 00:24:44,640 Speaker 3: an actress and the amazing work she's doing since then. 434 00:24:45,320 --> 00:24:48,840 Speaker 3: I love her captivating smile. She smiles with her eyes 435 00:24:49,560 --> 00:24:53,280 Speaker 3: all the basics to you. That's from Zandi let as well. 436 00:24:54,040 --> 00:24:58,520 Speaker 3: So one of the other things you do is and 437 00:24:58,560 --> 00:25:01,359 Speaker 3: this is since twenty twenty four, you've curated the film 438 00:25:01,359 --> 00:25:04,159 Speaker 3: segment at the Constitutional Hell Human Rights Festival, which is 439 00:25:04,160 --> 00:25:07,560 Speaker 3: actually coming out. Tell us why it was important to 440 00:25:07,600 --> 00:25:10,720 Speaker 3: do this work right because you've done You've done the acting, 441 00:25:10,840 --> 00:25:14,600 Speaker 3: the directing, the visual art. Was this kind of when 442 00:25:14,640 --> 00:25:17,280 Speaker 3: you when when the opportunity came, he thought, this is 443 00:25:17,320 --> 00:25:19,000 Speaker 3: the next thing I want to do. This is kind 444 00:25:19,000 --> 00:25:22,919 Speaker 3: of how I want to use my talents kind of 445 00:25:23,000 --> 00:25:23,879 Speaker 3: in the next phase. 446 00:25:25,400 --> 00:25:29,159 Speaker 1: It was actually by accident, hepe, because I was invited 447 00:25:29,480 --> 00:25:36,720 Speaker 1: to moderate a panel, so to prepare for for for 448 00:25:36,760 --> 00:25:39,879 Speaker 1: the pedal discussion, I just started asking questions like, okay, 449 00:25:39,960 --> 00:25:44,040 Speaker 1: so who is curating, what was the what is informing 450 00:25:44,080 --> 00:25:47,320 Speaker 1: the creational plan? Blah blah blah. You know, I was 451 00:25:47,320 --> 00:25:52,520 Speaker 1: just asking a bunch of questions, and from there the 452 00:25:52,560 --> 00:25:56,159 Speaker 1: conversation kind of went like, actually, why don't you just 453 00:25:56,200 --> 00:25:58,399 Speaker 1: come into all those things that you just asked me 454 00:26:00,080 --> 00:26:03,200 Speaker 1: doing them, put together a page, you know, make a 455 00:26:03,320 --> 00:26:07,200 Speaker 1: case for for for for the things that you're saying. 456 00:26:07,200 --> 00:26:10,760 Speaker 1: Because it's quite a big festival. I did the page, 457 00:26:10,880 --> 00:26:16,800 Speaker 1: the motivation, all of those things and kind of shaped 458 00:26:16,840 --> 00:26:23,080 Speaker 1: it into into more of the festival feel that it 459 00:26:23,160 --> 00:26:27,440 Speaker 1: is now. So I was very very grateful for the opportunity. 460 00:26:27,880 --> 00:26:30,520 Speaker 1: It wasn't something that I particularly planned for, but I 461 00:26:31,240 --> 00:26:33,520 Speaker 1: so loved what they were doing with the entire festival, 462 00:26:33,680 --> 00:26:38,600 Speaker 1: like bringing people who are in advocacy work together and 463 00:26:38,680 --> 00:26:43,080 Speaker 1: having artists under the same roof because we're not they 464 00:26:43,119 --> 00:26:45,240 Speaker 1: don't A lot of people don't consider the work that 465 00:26:45,280 --> 00:26:50,800 Speaker 1: we do as any sort of advocacy work or activism 466 00:26:51,000 --> 00:26:56,000 Speaker 1: or contributing meaningfully. You know, there is like a larger 467 00:26:56,000 --> 00:26:59,720 Speaker 1: perspective of this is just entertainment and the impact is 468 00:26:59,760 --> 00:27:02,760 Speaker 1: not appreciated as much. So I thought it was like 469 00:27:02,840 --> 00:27:06,840 Speaker 1: so forward thinking of the team met Constitution Hill to 470 00:27:06,880 --> 00:27:11,240 Speaker 1: recognize the power of cinema and to give me the 471 00:27:11,280 --> 00:27:17,840 Speaker 1: opportunity to grow with them as they're growing the festival 472 00:27:18,160 --> 00:27:18,720 Speaker 1: and So. 473 00:27:18,640 --> 00:27:21,359 Speaker 3: This year's theme is I think quite a powerful one. 474 00:27:21,560 --> 00:27:25,360 Speaker 3: Remembering the past, engaging the present, shaping a just future. 475 00:27:26,040 --> 00:27:27,840 Speaker 2: How did you kind of looking at. 476 00:27:27,760 --> 00:27:30,040 Speaker 3: That theme or thinking about that theme, how did you 477 00:27:30,080 --> 00:27:33,399 Speaker 3: then program or curate the film? 478 00:27:33,520 --> 00:27:40,880 Speaker 1: Firstival part, So we thought about all the milestones that 479 00:27:40,440 --> 00:27:44,440 Speaker 1: are that are happening. You know, we've got fifty years 480 00:27:44,840 --> 00:27:52,960 Speaker 1: of the the Use Uprising, We've got the Women's March 481 00:27:53,000 --> 00:27:56,640 Speaker 1: making seventy years this year, and we've got thirty years 482 00:27:56,680 --> 00:28:02,840 Speaker 1: of the Constitution. So we tried to to those but 483 00:28:02,920 --> 00:28:08,119 Speaker 1: from a present day perspective. So, for example, we're screing 484 00:28:08,160 --> 00:28:13,119 Speaker 1: a film called Children of War, which is a personal 485 00:28:13,240 --> 00:28:19,000 Speaker 1: and investigative documentary tracing what happened to the children who 486 00:28:19,000 --> 00:28:22,399 Speaker 1: were forced to pick up arms during the war the 487 00:28:22,440 --> 00:28:27,760 Speaker 1: war zone in in Towars when there was a big 488 00:28:27,760 --> 00:28:30,359 Speaker 1: fight between the people living at the hostel's ip and 489 00:28:30,400 --> 00:28:35,200 Speaker 1: the people who were living in the community. So it 490 00:28:35,240 --> 00:28:39,280 Speaker 1: was sort of like, I think everyone who is aware 491 00:28:39,320 --> 00:28:42,520 Speaker 1: of what happened in Towards and knows what was happening there, 492 00:28:44,040 --> 00:28:48,520 Speaker 1: and there were children like fourteen fifteen who are forced 493 00:28:48,560 --> 00:28:51,520 Speaker 1: to pick up arms. So it's not necessarily a seventy 494 00:28:51,560 --> 00:28:54,320 Speaker 1: six story because this was happening in the nineties, but 495 00:28:54,600 --> 00:28:57,720 Speaker 1: it is still about how the youth were impacted by 496 00:28:58,680 --> 00:29:03,480 Speaker 1: by a partied and we the documentary looks at where 497 00:29:03,480 --> 00:29:07,640 Speaker 1: are they today? Who are those people today and how 498 00:29:07,640 --> 00:29:09,960 Speaker 1: how have they coped with what they had to do 499 00:29:10,120 --> 00:29:15,360 Speaker 1: as children to survive today, which is which is very 500 00:29:15,560 --> 00:29:20,760 Speaker 1: like very important to say, Okay, we were there, but 501 00:29:20,800 --> 00:29:22,800 Speaker 1: these people are still here. Like like when you're speaking 502 00:29:22,800 --> 00:29:25,120 Speaker 1: to title just now, you were saying, those kids from 503 00:29:25,120 --> 00:29:29,000 Speaker 1: seventy six are alive today, what what is happening in 504 00:29:29,040 --> 00:29:32,520 Speaker 1: their lives today? What has been the long term impact? 505 00:29:32,640 --> 00:29:37,120 Speaker 1: So that's looking at the journey of youth. And then 506 00:29:37,200 --> 00:29:40,400 Speaker 1: in the same sort of theme, we're looking at a 507 00:29:40,400 --> 00:29:43,160 Speaker 1: film called Chasing Losses. It's a short film, it's a 508 00:29:43,240 --> 00:29:49,960 Speaker 1: student film that's looking at the gambling addiction that's that's 509 00:29:50,000 --> 00:29:56,200 Speaker 1: currently crypt online gambling that's currently gripping the youth today. 510 00:29:57,480 --> 00:30:02,360 Speaker 1: From the from the women's liberation perspective, we do have 511 00:30:02,440 --> 00:30:07,160 Speaker 1: two films also two student films. The one is the 512 00:30:07,160 --> 00:30:13,360 Speaker 1: Retelling of the Repetuation of Sarah Batman has remains back 513 00:30:13,400 --> 00:30:19,920 Speaker 1: to South Africa and it contextualizes that within the women's 514 00:30:19,920 --> 00:30:24,880 Speaker 1: liberation movement up until today. Uh. And then there's also 515 00:30:24,920 --> 00:30:29,440 Speaker 1: a short a short film that talks about Jennape's violence, 516 00:30:29,600 --> 00:30:33,120 Speaker 1: which is very topical today when it comes to women's 517 00:30:33,200 --> 00:30:39,400 Speaker 1: rights and what defending yourself from Jennapee violence means as 518 00:30:39,440 --> 00:30:44,280 Speaker 1: a woman. We also look at our elderly. There's a 519 00:30:44,320 --> 00:30:49,440 Speaker 1: film called Hearts Remember, which is looking at dementia and 520 00:30:49,640 --> 00:30:53,280 Speaker 1: a lot of the people who are experiencing dementia are 521 00:30:53,280 --> 00:30:57,480 Speaker 1: looked after by a younger generation, so it's also a 522 00:30:57,520 --> 00:31:03,480 Speaker 1: multi generational story and also just educating the Black community 523 00:31:03,520 --> 00:31:06,960 Speaker 1: on what dementia is. People are getting murdered, they called witches, 524 00:31:06,960 --> 00:31:11,760 Speaker 1: they're getting burnt, So I don't know if you notice 525 00:31:11,800 --> 00:31:15,560 Speaker 1: that there's a mental health kind of thread going through 526 00:31:16,080 --> 00:31:20,280 Speaker 1: because all of these fights for liberation do have an 527 00:31:20,320 --> 00:31:25,280 Speaker 1: impact on us in that way. We also have two 528 00:31:25,400 --> 00:31:33,440 Speaker 1: films that are looking at the housing situation, service delivery, 529 00:31:33,960 --> 00:31:38,160 Speaker 1: so very current issues, and Naas Farm looks at how 530 00:31:38,400 --> 00:31:43,240 Speaker 1: amerginalized community is suffering under the neglect of sanitation infrastructure. 531 00:31:44,320 --> 00:31:46,840 Speaker 1: That's a short film followed, and then following that it's 532 00:31:46,840 --> 00:31:50,360 Speaker 1: a feature film called Mother City. Mother City was a 533 00:31:50,360 --> 00:31:54,160 Speaker 1: big festival hit. A lot of one lot of awards 534 00:31:54,200 --> 00:31:57,680 Speaker 1: around the world, and it looks at the housing crisis 535 00:31:57,720 --> 00:32:03,800 Speaker 1: in Cape Town and the politics of urbanism really really 536 00:32:03,840 --> 00:32:08,160 Speaker 1: big hit. Everyone who's seen it was very deeply impacted because, 537 00:32:08,200 --> 00:32:10,560 Speaker 1: as you know, we really do have a housing crisis, 538 00:32:10,600 --> 00:32:14,840 Speaker 1: not just in Cape Town in general. Even when we 539 00:32:14,880 --> 00:32:18,600 Speaker 1: look at, for example, in formal settlements, we don't always 540 00:32:18,640 --> 00:32:21,640 Speaker 1: think of them as a housing crisis. We think this 541 00:32:21,760 --> 00:32:24,600 Speaker 1: is poverty, but it really really is a housing a 542 00:32:24,680 --> 00:32:29,480 Speaker 1: housing crisis. And then I've just mentioned the last two films. 543 00:32:30,640 --> 00:32:36,120 Speaker 1: We're doing a special broadcast of the African Renaissance podcast, 544 00:32:36,640 --> 00:32:41,360 Speaker 1: which is looking at reflecting at the under constitution over 545 00:32:41,400 --> 00:32:45,920 Speaker 1: the last thirty years, and we are sort of using 546 00:32:45,960 --> 00:32:48,880 Speaker 1: that to set the tone to screen a movie from 547 00:32:48,960 --> 00:32:53,680 Speaker 1: nineteen ninety seven called The Deadline. And this film was 548 00:32:53,720 --> 00:32:58,520 Speaker 1: commissioned by the Constitutional Assembly. It's a documentary that was 549 00:32:58,520 --> 00:33:02,360 Speaker 1: filmed during the closing stage of the Constitutional Assembly as 550 00:33:02,360 --> 00:33:09,680 Speaker 1: they were finalizing the constitution. So steady years later, we're 551 00:33:09,680 --> 00:33:16,040 Speaker 1: reflecting on, you know, seeing that process happening. It's such 552 00:33:16,080 --> 00:33:21,120 Speaker 1: a gem of a film. Yeah, thirty years later, Yeah, 553 00:33:22,320 --> 00:33:24,120 Speaker 1: we're kind of wrapping up that gurneys. 554 00:33:24,240 --> 00:33:27,040 Speaker 3: Yeah, and so it sounds as though, not only is 555 00:33:27,080 --> 00:33:30,600 Speaker 3: this kind of a film festival, right, but it kind 556 00:33:30,600 --> 00:33:34,720 Speaker 3: of looks at film as this tool for political education, 557 00:33:35,960 --> 00:33:39,480 Speaker 3: for conscientise and kind of teaching people or giving people 558 00:33:39,520 --> 00:33:44,480 Speaker 3: like a broader say, you know, for instance, you want 559 00:33:44,520 --> 00:33:47,560 Speaker 3: to learn more about so like I'm quite interested in 560 00:33:47,600 --> 00:33:50,960 Speaker 3: that's a apartment film and how it connects to women's 561 00:33:50,960 --> 00:33:54,000 Speaker 3: liberation because I write about women's issues and liberation, you know. 562 00:33:54,600 --> 00:33:58,680 Speaker 3: And so it's interesting that even for someone who may 563 00:33:58,720 --> 00:34:01,080 Speaker 3: have kind of done a bit of research or read, 564 00:34:01,440 --> 00:34:04,240 Speaker 3: these films sound as though they'll give you a little 565 00:34:04,280 --> 00:34:08,840 Speaker 3: something you didn't have before you watched them, which feels 566 00:34:08,840 --> 00:34:11,120 Speaker 3: a bit like, you know, for lack of a better phrase, 567 00:34:11,280 --> 00:34:13,840 Speaker 3: it's a bit of a political education kind of to 568 00:34:14,320 --> 00:34:16,600 Speaker 3: conscientize you a little bit. You come out of out thinking, 569 00:34:16,760 --> 00:34:18,880 Speaker 3: oh I didn't know that. I wonder what else I 570 00:34:18,880 --> 00:34:20,879 Speaker 3: don't know about this particular thing. 571 00:34:22,480 --> 00:34:25,400 Speaker 1: Oh absolutely, I mean that that is the goal. And 572 00:34:25,480 --> 00:34:29,120 Speaker 1: also to contextualize, you know, because sometimes you know a thing, 573 00:34:29,239 --> 00:34:32,480 Speaker 1: but you can't quite put yourself in the context of Okay, 574 00:34:32,560 --> 00:34:38,480 Speaker 1: so how do I move this forward? You know, And 575 00:34:38,520 --> 00:34:43,280 Speaker 1: how a lot of things are kind of interlinked, and 576 00:34:43,600 --> 00:34:47,400 Speaker 1: I think cinema has a very powerful way to do that, 577 00:34:47,600 --> 00:34:52,200 Speaker 1: you know, just how a director will decide to put shots, 578 00:34:52,280 --> 00:34:55,600 Speaker 1: to string shots together to form a sequence. It kind 579 00:34:55,600 --> 00:35:01,040 Speaker 1: of has a language able to of speak the things 580 00:35:01,040 --> 00:35:04,720 Speaker 1: that you can't speak or you can't write, you know. Yeah, 581 00:35:04,760 --> 00:35:07,399 Speaker 1: and it can reach the heart in a very very 582 00:35:07,440 --> 00:35:12,120 Speaker 1: different way. So yes, that's definitely our goal. We hope. 583 00:35:13,239 --> 00:35:15,960 Speaker 1: You know, I'm very inspired by how the old SABC 584 00:35:16,160 --> 00:35:20,480 Speaker 1: used to be, the heydays of the SAPC, how they 585 00:35:20,520 --> 00:35:23,800 Speaker 1: handled the mandate. It was still engaging, it was not boring, 586 00:35:24,000 --> 00:35:27,920 Speaker 1: it was not you didn't feel like you're having your 587 00:35:27,920 --> 00:35:30,920 Speaker 1: finger wag that you you know, you were, You were 588 00:35:31,000 --> 00:35:35,720 Speaker 1: kind of watching immersed and you walked away with something. 589 00:35:35,960 --> 00:35:39,200 Speaker 1: So I do hope people walk away with a personal 590 00:35:39,239 --> 00:35:41,560 Speaker 1: call to action, like, Okay, this is where I want 591 00:35:41,560 --> 00:35:44,839 Speaker 1: to contribute, This is what I think I can do. 592 00:35:45,360 --> 00:35:47,400 Speaker 1: These are the issues in my community, and these are 593 00:35:47,400 --> 00:35:50,960 Speaker 1: how I can I can address them. And you know, 594 00:35:51,000 --> 00:35:54,080 Speaker 1: with the two films Mother City and None of Us Farm, 595 00:35:54,600 --> 00:35:58,040 Speaker 1: I'm hoping it helps people think about how they vote 596 00:35:58,440 --> 00:36:04,279 Speaker 1: when the local elections come around. Also informed by what 597 00:36:04,520 --> 00:36:08,279 Speaker 1: is our constitution? What did it aim to do? And 598 00:36:08,320 --> 00:36:10,560 Speaker 1: how can we play a role in making sure that 599 00:36:10,960 --> 00:36:13,880 Speaker 1: we achieve those things? 600 00:36:14,000 --> 00:36:16,840 Speaker 3: Yeah, and so, and you know, as you kind of 601 00:36:16,880 --> 00:36:20,359 Speaker 3: think about not just only I think the festival, but 602 00:36:20,400 --> 00:36:24,759 Speaker 3: these are such I guess, interesting times, right, and interesting 603 00:36:24,800 --> 00:36:27,640 Speaker 3: because people say that it's either a Chinese blessing or 604 00:36:27,680 --> 00:36:28,080 Speaker 3: a curse. 605 00:36:28,360 --> 00:36:29,080 Speaker 2: And someone could. 606 00:36:28,960 --> 00:36:30,759 Speaker 1: Say, right now, while we're living in the. 607 00:36:30,719 --> 00:36:33,400 Speaker 3: Curse, right, and what is And I think people always 608 00:36:33,400 --> 00:36:36,840 Speaker 3: ask the question, do we create art to reflect the 609 00:36:36,960 --> 00:36:39,759 Speaker 3: times kind of what we're seeing right now? It's kind 610 00:36:39,760 --> 00:36:42,600 Speaker 3: of like large scale disregard for life, whether it isn't 611 00:36:42,840 --> 00:36:45,080 Speaker 3: Gazas who done Congo Syria or whatever? 612 00:36:45,320 --> 00:36:47,359 Speaker 2: Right? Or do we create. 613 00:36:47,280 --> 00:36:52,000 Speaker 3: Art to kind of console us? Because we need both. 614 00:36:52,280 --> 00:36:55,200 Speaker 3: And there's art that conscientises us, and then there's art. 615 00:36:55,360 --> 00:36:57,160 Speaker 3: It's like it's the devil is product. It's going to 616 00:36:57,239 --> 00:36:59,120 Speaker 3: make you feel okay, even if it's. 617 00:36:59,040 --> 00:36:59,800 Speaker 1: For nineteen minutes. 618 00:37:00,440 --> 00:37:02,400 Speaker 2: And for you, how are you thinking. 619 00:37:02,120 --> 00:37:06,759 Speaker 3: About kind of what this moment might mean for artists, 620 00:37:06,880 --> 00:37:08,520 Speaker 3: for creatives. 621 00:37:09,440 --> 00:37:12,399 Speaker 2: Or is it you know, sometimes our moments that we should. 622 00:37:12,040 --> 00:37:16,520 Speaker 3: Pause as makers just to see. And I'm interested in 623 00:37:16,560 --> 00:37:18,520 Speaker 3: how you're kind of thinking about right now? 624 00:37:20,360 --> 00:37:25,759 Speaker 1: You know, I think you know the you mentioned it 625 00:37:26,360 --> 00:37:31,480 Speaker 1: and you covered it so well that the the world 626 00:37:31,520 --> 00:37:34,359 Speaker 1: is shrinking, I mean, the sector is shrinking in terms 627 00:37:34,400 --> 00:37:40,640 Speaker 1: of opportunity, right and maybe it may be a blessing 628 00:37:40,680 --> 00:37:43,600 Speaker 1: in disguise, because, as I said, if we are being 629 00:37:44,080 --> 00:37:47,080 Speaker 1: dictated to what the narrative may be, we may not 630 00:37:47,680 --> 00:37:54,520 Speaker 1: see anything that genuinely reflects on the time, whether it 631 00:37:54,640 --> 00:37:58,880 Speaker 1: is to console or to conscientize, or to agitate or 632 00:38:00,080 --> 00:38:03,279 Speaker 1: you know, to make fun of whatever the case may be, 633 00:38:03,760 --> 00:38:06,520 Speaker 1: we won't see that. I mean, if you watch our 634 00:38:06,600 --> 00:38:11,839 Speaker 1: screens currently, you really just don't see what's happening right now. 635 00:38:11,920 --> 00:38:15,880 Speaker 1: It's not reflected because of that mediation from you know, 636 00:38:15,920 --> 00:38:21,600 Speaker 1: the private streamers. So I'm hoping that we use this 637 00:38:21,680 --> 00:38:27,240 Speaker 1: opportunity to create independent works. Every artist, when they're creating 638 00:38:29,320 --> 00:38:32,920 Speaker 1: genuinely is going to take one of those boxes that 639 00:38:33,000 --> 00:38:37,959 Speaker 1: you mentioned that artists supposed to do. And I think 640 00:38:38,000 --> 00:38:42,759 Speaker 1: we can have a really cathartic kind of error if 641 00:38:43,840 --> 00:38:46,960 Speaker 1: we take this as a challenge to start creating outside 642 00:38:46,960 --> 00:38:51,640 Speaker 1: of the box. If you watch a lot of the 643 00:38:51,680 --> 00:38:55,040 Speaker 1: South African films that we do see in film festivals 644 00:38:55,040 --> 00:38:59,520 Speaker 1: that are made independently, they are brilliant, They speak to 645 00:38:59,560 --> 00:39:06,239 Speaker 1: something deeper they are moving, they're memorable, they're touching. So 646 00:39:06,400 --> 00:39:09,680 Speaker 1: all of that is there. What we must do is 647 00:39:09,760 --> 00:39:15,839 Speaker 1: refuse to be turned into service servicing industry and use 648 00:39:15,880 --> 00:39:20,400 Speaker 1: this moment to really insist on being a creative industry. 649 00:39:21,719 --> 00:39:23,600 Speaker 1: And then we'll see a wide range of things. We 650 00:39:23,960 --> 00:39:28,960 Speaker 1: could use some comedy right now. You know, comedy is 651 00:39:29,160 --> 00:39:35,600 Speaker 1: very powerful. It's educational, it opens your eyes, it does 652 00:39:35,640 --> 00:39:40,040 Speaker 1: all of that while you're laughing. You know, we need 653 00:39:40,080 --> 00:39:43,160 Speaker 1: a whole lot of that. So I'm saying, let's come together. 654 00:39:43,280 --> 00:39:47,000 Speaker 1: Let's collaborate, not just in the film and TV sector, 655 00:39:47,120 --> 00:39:51,879 Speaker 1: like with music, with radio, with journalists, with everyone. Let's 656 00:39:51,920 --> 00:39:55,840 Speaker 1: see what we can do together to kind of reclaim 657 00:39:56,200 --> 00:39:58,600 Speaker 1: the creative sector and make it our own. 658 00:40:00,000 --> 00:40:02,719 Speaker 3: I miss it from doctor Mahuna just before we wrap up. 659 00:40:02,719 --> 00:40:04,560 Speaker 3: He says, good morning, go go in seven or two. 660 00:40:04,600 --> 00:40:07,480 Speaker 3: Mabato has a clear mind and vision. We appreciate her 661 00:40:07,480 --> 00:40:11,040 Speaker 3: prolific work on important matters in life and society. Best 662 00:40:11,040 --> 00:40:13,839 Speaker 3: wishes doctor Manhumana in midstream and I think that is 663 00:40:14,239 --> 00:40:16,520 Speaker 3: such a beautiful way to end our time. And also, 664 00:40:16,560 --> 00:40:19,400 Speaker 3: thank you so much for giving us part of your Sunday. 665 00:40:21,080 --> 00:40:24,440 Speaker 1: Thank you Google, Thank you to Doug and also hello 666 00:40:24,520 --> 00:40:26,680 Speaker 1: to I thought i'd get a chance to say hi 667 00:40:26,760 --> 00:40:27,160 Speaker 1: to try. 668 00:40:27,080 --> 00:40:30,200 Speaker 2: The regardank you so much. 669 00:40:30,680 --> 00:40:35,360 Speaker 1: Yeah, I enjoyed this conversation so much. I hope to 670 00:40:35,480 --> 00:40:39,040 Speaker 1: see you at the festival. At the Festival, the Bones, 671 00:40:39,960 --> 00:40:43,400 Speaker 1: the filmmaker will be in attendance. I think if you 672 00:40:43,480 --> 00:40:46,760 Speaker 1: do come, you and the filmmaker could have a really 673 00:40:46,800 --> 00:40:50,640 Speaker 1: really beautiful conversation during the Q and A ession. 674 00:40:50,760 --> 00:40:52,840 Speaker 2: So thank you, so glad to have you this great 675 00:40:53,040 --> 00:40:53,400 Speaker 2: Thank you. 676 00:40:53,719 --> 00:40:57,759 Speaker 3: Award winning writer, director, visual artist Baba Tomanso take us 677 00:40:57,760 --> 00:40:59,560 Speaker 3: to nine o'clock and your latest out with Listeners.