After five years of waiting, Spider-Man swings back onto our screens, and straight into his identity crisis.
After swinging into the Ster-Kinekor cinema at Rosebank and witnessing the long queues of people lining up in anticipation for the fourth installment in Tom Holland’s Spider-Man franchise, I completely understand how it was the biggest opening weekend in South African cinema history, according to Sony Pictures South Africa.
Brand New Day was a breath of fresh air. It felt as if it were the first raindrop after years of drought, which is somewhat true. This year marks five years since Spider Man! No Way Home last graced the big screen. The Marvel Cinematic Universe, which adapts the Marvel Comics characters and storylines created by Stan Lee, Jack Kirby, and Steve Ditko, seems to have been experiencing quite the dry spell since its most successful era ended. Due to the immense success of the last movie, all eyes were on Tom Holland to save the MCU – and save the day, he did.
After the events that led to the ending of the last movie, the audience was left biting their nails in worry for our closepersonal friend, Peter Parker. Over the years, I found myself wondering if he was okay and how he could be dealing with Aunt May’s death as well as the loss of not just his best friend, Ned (Jacob Batalon), but his girlfriend, MJ (Zendaya), too.
He took it just as I expected: not well. Obviously.
Peter chooses to isolate himself altogether, even from the only people he has left. One of the only connections he appears to have is with Jean DeWolff, played by Liza ColonZayas, who is the police captain that Spider-Man works very closely with. However, he is hardly close to her, if at all. DeWolff makes this a talking point in the first act, essentially calling him out on the fact that he knows nothing about her outside of work. When having a meeting with Florence Pugh’s character, Yelena, and speaking to Frank, (The Punisher,)played by Jon Bernthal, Peter never takes the mask off. This is done to mirror that Peter does not engage with anything or anyone outside of his Spider-Man persona. It is no longer his alter ego as Peter Parker, but rather his sole identity. It really does feel as though Peter Parker never existed.
The film centers on Peter’s want and need to only be Spider-Man, while ignoring everything that made him into the fantastic superhero he had grown into. While the first three movies followed him along his journey of Peter trying to become Spider-Man, this one focused on Spider-Man trying to figure out how to be Peter Parker.
Tom Holland knocked it out of the park with the most genuine and realistic portrayal of this allegory. He has always excelled at playing Peter Parker, but this film cemented his legacy as the current generation’s Spider-Man. Oftentimes when we watch movies, especially ones with high-status actors, we tend to pay extra attention to how they act. We notice how their eyebrows slightly crinkle, or how their mouths twitch when trying not to break character, and we realise that we are watching an actor act. Yet, as I sat in the movie theatre, that was the last thing on my mind. Holland did an incredible job capturing my attention. It felt as though I was pulled into the screen.
Visually, this is one of the most stunningly shot Spider-Man films. The creativity of the cinematography truly added to the audience’s experience of joining Peter’s grief, stress, and anxiety of facing the inevitable. The scenes of New York City helped us feel as if we were right there with Peter, with the web-swinging scenes beautifully executed. Brand New Day was visually dynamic and vibrant, the opposite of the blandness that has plagued cinema over the past few years. All of these aspects added to the comic book illusion. Destin Daniel Cretton, the director of Brand New Day and Shang-Chi, has also solidified his position as one of the MCU’s top directors.
Brand New Day gave us more than just a fourth Spidey movie. It gave us a superhero who resembles pieces of us that we would not normally expect them to. We have all been this version of Spider-Man: still in the process of becoming, struggling between doing what is required from us and doing what we desire to do. This is what made this movie so enjoyable. Instead of following the usual formula of villains trying to kill Peter, it showed us an emotionally charged street-level Spidey story. No Avengers intervention, no multiverse concerns, and no “end of the world” problematic threats.
Instead, it raises the question: what happens when a superhero becomes more than just the man wearing the mask? A person like you and me, figuring out their identity, while ignoring who we really are, because it frightens us?
This is why the antagonist of this film not being necessarily evil is so impactful. The secrecy surrounding Sadie Sink’s character had us in a chokehold for months, and the wait was definitely worth it.
The heart and soul of this film were the scenes between Peter, Ned, and MJ. Their presence emphasised the sadness of Peter succumbing to his loneliness. One thing that movie did incredibly well was not having Peter’s grief categorised in a hierarchy. He missed Ned just as much as he missed MJ. The writing spectacularly delivered us with the purest portrayal of Peter Parker when he shows MJ unconditional love.
Brand New Day proved that Peter does not have to face life alone in order to be successful as Spider-Man, if anything, it is the complete opposite. Although Ned and MJ will never be able to remember the Peter they once knew and loved, it does not mean that Peter cannot build something new with them.
Vuvu Rating: 9/10
FEATURED IMAGE: Spider-Man logo drawn on a red background. Photo: Kerese Govender
A performance project featuring spoken words, chants, movements and musical art. It is a reimagination of Arther Rimbaud’s poem titled ‘A season in Hell’.
A season in Hillbrow, directed by Sibahle Mangena and Gerard Bester… what were my expectations? In all honestly, the performance far exceeded anything I had anticipated. I had expected an hour of a performance that somehow resembled ‘The greatest showman‘, where performers just burst into song mid-sentence. I had even thought to myself how will such an in-depth, poetic masterpiece be turned into musical play?
Safe to say, calling this performance a musical would be highly undermining its artistry. A group of high school students from the Windybrow Arts Centre took to the floor of the Southwest Engineering building an immaculate form of storytelling. A form that might make one assume is wiser than their years. Simply using school desks, their bodies, their voices, and most importantly their words.
Still of cast dancing during performance. Photo: Kamogelo Lesabe
The performance started with what seemed like a recitation of the beginning of Arther Rimbaud’s poem. As someone who knows this poem well, I quickly realised, that was far from the truth. Each student in the set up classroom delivered these short, punchy one-liners that incorporated words from the poem and mixed them with the real lived experience of Hillbrow. They mingled a clever play on words that spoke to issues of education, poverty, crime, gangsters, safety, hope and love while maintaining the main themes of suffering, alienation, self-destruction, and rebellion taken from the poem.
They carefully tackled these issues from the wide spectrum of the repercussions of apartheid and xenophobia boiling all the way down to the potholes in the street and how a Mageza drives on the road. They mixed all Nguni languages with the Shakespear kind of English which made the performance identifiable to a South African context. They sang amagwijo with all their emotion, they danced on tables, they even used comedy, which only South Africans would understand, to relate to the audience. They represented the theme of rebellion by not conforming to traditional ways of storytelling but rather speaking out against rigidity, limitation, unbelief, and societal standards. Rebellion against real issues faced by South Africans and contextually South Africans who daily experience life in Hillbrow.
Their costumes were an art of rebellion themselves. Wearing torn skirts, untucked school shirts, ties pinned to their shoulders instead of their necks. Similarly to the stage they performed on which was set as a classroom, how they sat, stood and danced on the desks, how they piled desks on top of one another to create what they called “a castle”. That for me screamed a unique and unconventional take to the interpretation of Rimbaud’s work.
Still of “castle” built with tables. Photo: Kamogelo Lesabe
. It was “powerful work of emergence by emerging voices” said Stacy Hardy, one of the creators of this performance. Work of emergence to address current and detrimental issues in the heart of Hillbrow.
The high schoolers truly outdid themselves in relaying the message of reimagining such an enigmatic poem.
Vuvu Rating: 8/10
FEATURE IMAGE: Cast of A season in Hillbrow performance. Photo: Kamogelo Lesabe
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At Decorex Joburg, “Soft Life” looked a lot like everyone else’s life, the continent was missing.
Decorex Joburg, one of Africa’s largest design and decor exhibitions, returned to the Sandton Convention Centre between July 30 to August 2, 2026, under the banner of “Soft Life”.
The theme was a move from the city’s hustle culture to a calmer, intentional design of spaces and pieces. Walking through the five floors I noticed minimalist styling with small tweaks repeated from booth to booth that demarcated exhibits. This made me question whether Africans have a sense of what soft life looks like in their own eyes, and not with a Western gaze.
What does “soft life” actually mean at a design exhibition in Africa, is it a colour palette or is it a philosophy? Decorex seemed to be a lot more about the form through the pale woods; ivory tones and muted neutrals presented as calm and intentional. The pendant lights shaped from soft, feather-like layers of ivory were undeniably elegant, but nothing in them spoke to what “soft life” is in Africa. I found myself wishing they had been exhibited in a bolder way, maybe a light carved into a traditional symbol or covered in African print.
Picture of a geometric pattern in black, white and green with curved wooden legs by Meetlo. Photo: Reatlehile Mashamba
The absence of the continent’s voice raised an unavoidable question even though the show was elegant and soft. The question is whether Africans can genuinely see themselves in this version of softness, or whether we’re being handed a Western idea and accepting it with ease.
Being African is not a simplistic beige colour, it’s the bold brown colour of an animal hide that carries specific meanings, spiritual significance and ancestral meaning. Vukari Art offers a range of handcrafted luxury home decor made from 100% unique Nguni cowhides, with features such as rugs, wall hangings and matching cushion covers. Vukari’s stand was unapologetically African, it took me to my roots, gave me a feel of what Africa was before we became accustomed to a certain lifestyle. According to The Art and Heritage of African Animal Skin Rugs cowhides were traditionally valued for their utility in various contexts across the continent and remain a symbol of both functionality and natural elegance. In an exhibition centered around the “soft life” these designs offered a version of softness rooted in individuality and inherited wisdom rather than a borrowed idea of a colour palette.
In contrast, Design Week Lagos: Homeexhibited their designs using an opposite approach with carved wooden panels with a mask-like figure, a hand-thrown ceramic form and straw woven rugs underfoot, it wasn’t as bold; it was another way of portraying Africa. The mask-like figures were a symbol of Western Africa, often representing ancestral spirits, deities or serving as ceremonial objects rather than decoration. This offered two different, equally valid African expressions, proving that softness and identity aren’t always mutually exclusive.
Leaving Decorex, I kept asking myself, “what does soft life actually mean in South Africa and who does it cater to?” For some part of the exhibition, I felt that Africa’s soft life could have been borrowed from an idea that screams simplistic with a solid colour palette. An African soft is allowed to feel and look different through its unique symbolisms, materials and colour palette with no expectation on what to deliver. Decorex lived up to its promise; it was soft and intentional, but it could include some parts of Africa.
FEATURED IMAGE: Picture showing signage of the Decorex sign at the Sandton Convention. Photo by Reatlehile Mashamba
Amidst the chaos of Johannesburg’s traffic intersections, Robots follows Gift, a street performer who turns red-light pauses into moments of joy.
As the lights turn to red, Gift – also known as Marshmallows – steps onto his stage. On Johannesburg’s streets, traffic light intersections become his theatre. There he juggles, unicycles and performs his signature ‘headless man’ act, turning the pause in traffic into a few moments of entertainment, before the lights flicker back to green.
Directed by Yaseen J.Khan, Robots is an insightful, funny and moving portrait of livelihood and perseverance. At its centre is Gift, a charismatic personality who performs at intersections for strangers. Yet beneath the laughter lies a layered story of fatherhood, struggle and resilience. His perspective on life makes you laugh one moment and cry the next.
Gift is a hustler, an entertainer and a man who balances this alongside his role as a husband, father, and friend. His complexity challenges stereotypes about street artists. At first, Gift is presented as joyful and always smiling, but the film asks its audience to look deeper and challenge their own assumptions. Robots is more than a portrait of one man; it is a wake-up call, recognising the overlooked creativity of those trying to make a living and build better lives for themselves and their families.
The documentary itself was self-funded and took three years to complete. At a July 26 screening held at the Bioscope Independent Cinema in Johannesburg, filmmaker Khan was joined by DOP Kirsten Rose and producer Kopedi Aphane to discuss the project’s origins, explaining that it all began with curiosity: “These are people we see every day, but beyond that we don’t know what is happening behind the scenes.”
Cameras were introduced only after conversations and mutual trust-building. As Khan reflected, “We could only tell as much as he wanted to reveal.” Over time the story evolved; Gift developed from subject to collaborator and friend, guiding the filmmakers into spaces others might have avoided, sharing his health diagnosis, financial struggles and hopes for permanent work. The process reshaped the filmmakers themselves, who later wrote, “as filmmakers, this documentary changed our own perspectives about poverty and resilience.”
The editing moves seamlessly between vibrant energetic scenes, to quiet moments of reflection, accompanied by music that mirrors Gift’s changing moods. An upbeat score, including the crashing of cymbals, adds a ‘showbiz’ flair to the street performance. The rhythm makes you laugh, then suddenly brings tears as the pace slows.
Intimacy is the film’s strength because you can feel the connection to Gift not only as a performer, but as a person. Camera points of view through car windows, amidst the chaos of traffic, and then inside his family home with his wife and two children, all offer unique insight into his life.
He moves between that home and the space under the bridge. His smile feels like a quiet act of defiance. Even when motorists do not reward him, he finds joy in their reactions, saying that he loves to see people smiling, “even if you give nothing, just your smile”.
Khan hopes to leave the audience with conversations that will carry beyond the screen.Robotschallenges assumptions about people at traffic intersections. The film is insightful and funny, emotional yet hopeful. It made me appreciate life and see street performers in an entirely new light. Gift’s story shows the power of performance to connect strangers, even if only for the length of a red light.
FEATURED IMAGE: Robots poster. Photo: Supplied/The Bioscope
A true story of murder and the miscarriage of justice.
“Likewise, every good tree bears good fruit, but a bad tree bears bad fruit. A good tree cannot bear bad fruit, and a bad tree cannot bear good fruit. Thus, by their fruit you will recognise them.”
Fruit of a Poisoned Tree by Antony Altbeker is about one of the most sensational legal cases in South African history, the Inge Lotz murder trial. The book explores the murder of a young Stellenbosch master’s student; the prosecution of her boyfriend and the exposure of police fabrication and investigation.
On March 16, 2005, Inge Lotz was found brutally murdered in her apartment around 22:30 by Christo Pretorius after receiving a call from Lotz’s friend. The discovery he made was gruesome and extremely violent: Lotz had multiple stab wounds in her neck, chest, and ribs. She had been beaten with a hammer on her head. Her forehead was crushed inwards, leaving behind the flesh hanging on her face. According to the investigators, there was no sign of forced entry, and all her valuable items, such as her laptop and cell phone, were left untouched. This means her attacker was known to her.
Her boyfriend, Fred van der Vyver, quickly became the prime suspect. Although he had an alibi, the evidence found on the scene proved otherwise. His fingerprints were found on the DVD she had been watching the afternoon of the attack, a bloody shoeprint matched Fred’s Hi-tech shoes, and lastly, the hammer used to crush her skull was found in his car.
The trial became an exposé in which the defence and the prosecution were trying to discredit each other. Fred was charged with her murder but was later acquitted because it had been discovered that there was dishonesty from the prosecution. So, the case went cold, and Inge did not get justice.
A friend of mine, Mmathapelo Agatha Motlhale, recently passed away. She, too, fell victim to GBV at the hands of her step-uncle. I remember how much she would complain about him constantly terrorising her and her mother. To the point of getting a protection order, which did not last long. He violated the protection order rules one day and tried to attack her mother. While protecting her mother, she slipped and fell. While on the floor, he trampled on her leg with enough force that broke her ankle. When she reported the incident, he was arrested but was not held in custody for long. Upon his return, he kept terrorising them until he got her mother arrested.
The description of the brutality of the murder really shocked my nervous system. I just kept wondering what type of rage and hatred a person would have to have in their heart to commit such an atrocity. To make matters worse, these crimes are usually committed by people we love and trust. Strangers are less likely to kill another stranger in the manner these crimes are committed. It is so unsettling how the danger is almost always in the same house or family as these victims.
Since her murder, femicide and gender-based violence (GBV) rates have increased drastically. Unfortunately, these murders are committed by intimate or family members of the victim. Still, the justice system continues to fail women.
Unfortunately, during the court cases and living in hotels in fear of her step-uncle, she got an infection on the broken ankle, which resulted in her death. The step-uncle may not have killed her directly, but he influenced her cause of death. Had justice prevailed and the step-uncle arrested, her leg would not have been broken in a scuffle, she would have never had an infection and died.
This book reveals a profound miscarriage of justice and serves as a chilling indictment of the professional bankruptcy and systemic rot within the South African criminal justice system. Just like Inge and Mmathapelo, many other women were failed by the justice system. Many of them would have been alive if the system were just and fair.
FEATURE IMAGE: Fruit of a Poisoned Tree by Antony Altbeker Photo: Naledi Maraisane
A deeply human reflection on fathers and sons, masculinity, healing and what gets passed down through generations
Imran Hamdulay’s feature debut, The Heart Is A Muscle, is a moving exploration of intergenerational passing, the complexities of masculinity and the relationship between fathers and sons. Set within Cape Town’s layered history, the film was South Africa’s official entry for Best International Feature Film at the 98th Academy Awards (Oscars) 2026.
The Cape Flats, an area shaped by apartheid and systematic marginalisation, has been misrepresented in cinema. It is often reduced to a single narrative of crime and conflict. Hamdulay pushes against this stereotype. The history of violence is acknowledged but never dramatised. Instead, he reflects on fear, hope and defiance. The Cape Flats feels like more than just a setting, it becomes a character in itself. Fractured but resilient, carrying its complexities, dignity and fragile connections.
During a Johannesburg screening at The Bioscope Independent Cinema on March 11, Hamdulay was in attendance and explained how the story was inspired by a real-life incident. While at a barbecue, he saw a friend’s son briefly go missing. In that moment, Hamdulay witnessed fear and anger in his friend like never before. This sparked his curiosity and the film’s narrative, which begins with a young couple discovering their five-year-old son has disappeared. The story continues to follow Ryan, the young father, as he confronts his own brokenness, masculinity and the unspoken histories passed down through generations.
Still from The Heart Is A Muscle. Photo: Supplied/The Bioscope
Shot entirely on location, it captures both Cape Town’s grittiness and colour. Hamdulay has explained that he tried to lead every part of the production with kindness. From the set, the shoot, the camera, to the performances. The cinematography reflects this, emphasising intimate, character-driven storytelling. Imagery such as the ocean creates feelings of isolation and unresolved emotions. Close-ups reveal personal histories through subtle traits. Instead of over-rehearsing, a lot of time was spent discussing the characters beforehand and how the actors themselves related to the story. Keenan Arrison, cast as Ryan, delivers a raw, lived-in performance, and the film’s emotion lies in the pauses, silences and gestures.
Still from The Heart Is A Muscle. Photo: Supplied/The Bioscope
The film asks: What do we inherit from our fathers? And how can we become better versions of ourselves in difficult circumstances? Masculinity is usually discussed through power and control, but Hamdulay looks at the importance of softness and healing. What begins in feelings of apprehension transitions into a meditative reflection, heightened by a score that balances tension and vulnerability.
Although the film is set in South Africa, The Heart is a Muscle also speaks to an international audience. At its core, it is a reflection on belonging. It is not only about fathers and sons but about facing inherited pain and finding a path to forgiveness and change. Hamdulay has created a film that is intimate, layered and deeply human.
FEATURED IMAGE: The Heart Is A Muscle poster. Photo: Supplied/The Bioscope
Four seasons in, Bridgerton struggles with originality, yet it feels as genuine than ever.
Dearest gentle reader, in this highly anticipated new season of one of Netflix’s most-watched series, Bridgerton season four, part one, is not quite what we expected.
This season focuses on the notorious playboy Benedict Bridgerton’s love story and his quest to find life partner. He meets a lady named Sophie at a masquerade ball and makes it his mission to find her after she leaves the ball in a hurry. This season uses the Cinderella trope, but instead of a glass slipper, Sophie leaves behind a glove. This story line makes the story predictable, as many audience members are very familiar with this trope, it lacks originality.
A very interesting aspect of this new season is that we get an inside look into the servants’ quarters. We are offered a behind-the-scenes glimpse of how the lives of the rich and royal are kept in-order by those who are rarely noticed in these spaces. It is reminiscent of renowned period drama, Downton Abbey.
Through this shift in perspective, the series highlights the invisible labour that sustains the grandeur of high society. Lady Whistledown makes a point of exposing and sharing the stories of these workers, further emphasising their importance in society.
A carriage driver remarks on the behaviour within the ton, stating, “It’s thrilling for them, chaos for us.” This line emphasizes the immense labour servants must perform to maintain the magnificence or grandeur of the balls and social events hosted during the debutante season.
Throughout the Bridgerton series, Benedict has been depicted as sexually fluid, which makes his search for a wife this season feel out of left field and somewhat out of character.
It would have been more compelling to watch him seek companionship with both men and women, ensuring that the character development establishing him as pansexual in previous seasons, did not go to waste.
The chemistry between Benedict and Sophie is undeniable. This is the first season where the main couple get to know each other in a friendly manner, and this was entertaining to watch.
The playfulness and gentle ease they have with each other is refreshing, from the conflict we initially see with the previous main couples in the series.
Despite the predictability and missteps on Benedict’s character development, Bridgerton season four succeeds in feeling emotionally sincere.
This may not be the most original chapter in the Bridgerton storyline, but it proves that familiarity, when written well, can still be engaging.
Vuvu rating: 7.5/ 10
FEATURED IMAGE: Bridgerton season 4 review. Photo: Netflix
When boy problems or heartbreak have you on shaky ground, Shekhinah’s Less Trouble comes in like a wave, and it’s strong enough to drown you in your feelings.
Crowned as one of South Africa’s most celebrated voices, Shekhinah is back to prove that her music still hits where it hurts. Four years since the last album, Trouble in Paradise, her return is a reminder of just how good she is at what she does.
Shekinah’s album Less Trouble features several artists including Lordkez, Moliy, Young Stunna and Mars Baby.
A year ago, she released two singles, “Steady” and “Risk”, offering listeners a preview of the upcoming album’s direction.
“Devil in disguise, trouble in your eyes, every single time all we do is fight.” With these lyrics, Shekhinah sets the tone from the very start. The opening track, “Break up season”, lays the foundation, hinting that the album will centre on the highs and lows of relationships.
From her album Rose Gold to now, she’s stayed true to her signature sound, rarely chasing trends or charts, and instead focuses on making music that ages like fine wine.
Shekhinah’s album cover. Photo: Shekhina’s IG
On track 3, “Bare minimum”, Shekhinah strikes a chord with anyone who’s ever been given the bare minimum in a relationship. She reflects on asking for little yet receiving even less and ultimately reaching the point where letting go becomes inevitable.
The playlist opens with a sense of tension and frustration but soon transforms into bursts of pure joy. By the time you reach track 7, “Spoonky”, it feels like freedom itself, like cruising down the freeway with the windows rolled all the way down, warm wind rushing against your face, palm trees swaying past in a blur. You’re singing off-key, laughing uncontrollably with the love of your life in the passenger seat, every worry dissolving into the sunset. It’s a moment of pure happiness bottled in sound.
“Less trouble” isn’t just an album; it’s a celebration of love, happiness, and the freedom to finally feel complete, just as she says on “Spoonky”, “you’re the one that I want”.
Rating: 8/10
FEATURED IMAGE: Shekhina’s album cover. Photo: Shekhina’s IG
Sinners is a genre-defying film that follows twin brothers, Smoke and Stack, as they return to their hometown to open a jazz club for their neighbourhood – with terrifyingly unexpected consequences.
Sinners is a supernatural horror epic that will surely leave viewers hooked and inspired
Ryan Coogler makes history by retaining creative control and getting the box office first-dollar gross
The film seamlessly blends music and horror with rich African American culture
Set in the 1930s in Mississippi, the opening night of the club unwittingly summons bloodthirsty vampires, leading to an epic final battle that sees the film take on an unnerving and damning climax. While Sinners incorporates musical and horror elements with American gothic fantasy, director, Ryan Coogler is keen to highlight that the film transcends typical genre boundaries.
By setting the story in the racist deep south of the United States, Coogler creates a narrative that is both chilling and thought-provoking. He flips the white saviour complex on its head through the film’s main vampire and antagonist, Remmick. Smoke is a noble protagonist & Michael B. Jordan did an amazing job playing the twins – with Stack being a terrific and nuanced villain.
The film’s scene stealer is Wunmi Mosaku. Her arresting performance as a hoodoo practitioner and Smoke’s wife, Annie, brings a quiet grace that warms the big screen. The chemistry between Smoke and Annie is palpable and their relationship really anchored the storyline’s emotional pull.
Sinners isn’t just a bold cinematic vision – it also stands as a landmark in filmmaker autonomy. In a rare deal with Warner Bros., Coogler secured first-dollar gross, meaning he earns from the film’s very first ticket sale, a privilege usually reserved for box office royalty. He also retained final cut rights, giving him full creative control over the film’s edit.
Most strikingly, he negotiated a reverse of ownership after 25 years, allowing the film’s rights to revert fully to him-which is nearly unheard of in Hollywood and reflects a growing shift toward creator-led power in studio filmmaking. The film’s cinematographer, Autumn Durald Arkapow, previously worked on Black Panther with Coogler. Coogler says “This cast reminds me of the Panther films, but in a way it’s maybe more exciting in that when audiences watch this…” noting that the cast built a community during filming much like the Black Panther cast.
Sinners is a love letter to the art of filmmaking and music. Collaborating closely with iconic composer Raphael Saadiq, Coogler ensures that the film’s music and score is integral to its storytelling. The fusion of blues and jazz music through Miles Caton’s character, Sammie, serves as a conduit for understanding the complexities of Black religious identity while navigating an artistic calling in music.
Sammie, a cousin of the twins, was the best character and Caton’s complex performance is arguably the strongest. It was heartfelt, relatable and his richly husky singing voice fills the entire cinema. I absolutely loved the immersive cinematography and sound production; it was crisp and spectacular! The awe-inspiring montage showing the different eras and cultures of Black music was an enthralling choice to include. It was beautiful, but felt out of place in the storyline’s progression and it took me out of the movie for a second – which isn’t something I always like when I’m tuning in.
Overall, the film is jarring and nuanced but in a captivating way that will surely inspire dialogue amongst viewers. A definite must-watch for anyone who enjoys a solid & well-written movie.
Vuvu Rating: 9.5/10
FEATURED IMAGE: Sinners Theatrical Poster Release Photo: Supplied/Wikipedia
Just when you thought season two had reached its peak of drama, season three will have you on the edge of your seat, gasping for more.
Young, African and Famous is a Netflix reality series directed by Wesley Masilo Makgamatha, and follows the glamorous lives of African media personalities from South Africa, Zimbabwe, Uganda, Namibia and Tanzania to name a few.
Exciting new characters are added to the cast this season, Nollywood actress Ini Edo, entrepreneur, Shakib Lutaaya and South African social media sensation Kefilwe Mabote. Viewers can anticipate drama, luxury, and vulnerable moments throughout the series.
This season of Young, African and Famous brings fresh drama and excitement as Zari and Shakib take centre stage, stealing the spotlight with their highly anticipated wedding.
The wedding was undeniably beautiful and intimate, radiating love and excitement. However, the event was marred by Annie’s comments, which were loud and uncomfortable. She repeatedly pointed out the age gap between the bride and groom, suggesting that Shakib could be Zari’s son’s friend, which I believe felt out of place, especially in front of Zari’s family. Her remarks added tension to the occasion, taking away from the celebration’s joy and highlighting the group’s awkward dynamic.
This season, Annie seem determined to fix the relationships she damaged last season, especially with Zari and Swanky, as she works to rebuild trust within the group. However, I cannot help but feel that Annie’s actions reveal a narcissistic side to her—she never truly takes accountability for her behaviour and seems to lack the self-awareness she claims to have. Her constant attempts to play victim or deflect responsibility only made me more frustrated.
Swanky shares that after the previous season he went to therapy and in this new season of strong personalities and dramatic moments, his composed manner make him a welcome presence.
I find Diamond’s attitude towards women off-putting this season. He believes he can be with any woman at once, treating Fantana poorly and playing games with her feelings. It’s frustrating to watch because it comes across as disrespectful and manipulative. As for Naked DJ and Kayleigh, their relationship had me feeling like the show was scripted. It felt odd that they only had certain serious conversations about commitment when they were with their friends, considering they live together. Those kinds of discussions should have been happening privately, and it made the whole situation feel more staged than real.
Nollywood actress Ini Edo’s arrival infuses the group with new and potent energy because of her strong personality and commanding presence, which open new avenues for developments and conflict.
However, the biggest drama of the season emerges from the fiery clashes between Kefilwe and Zari. Their intense and chaotic interactions become some of the most talked-about moments, which left me eagerly anticipating the next twist in their ongoing feud.
Overall, my takeaway is that while the drama and intense moments keep things interesting, it is the humour and unpredictable dynamics that really make the series entertaining. Despite the conflicts, there is still a lot of growth and real moments that make you want to see what happens next.
Vuvu Rating 8/10
FEATURED IMAGE: An image of the season 3 cast from Instagram by Netflix.
If you think the return of Wolverine in this movie cheapens his well-earned death in Logan, then welcome to comics – nothing is sacred or permanent, not even death.
Cast: Ryan Reynolds, Hugh Jackman, Emma Corrin
Director: Shawn Levy
Vuvu Rating: 7/10
The Merc with a Mouth’s third instalment is both a love letter to Fox’s X-men franchise and an obituary to the now Disney-owned 20th Century Studios.
Centered around Deadpool attempting to save his timeline from being annihilated, the film gives us an honest, if slightly underdeveloped, look at Ryan Reynold’s’ Deadpool’s view of himself. Someone destined for greatness but unable to reach it without the help of someone he views as greater than himself. Most portrayals of Deadpool often forget the core aspects of the character. The insecurity he masks with humour, and bravado he employs to cover the pain.
Irreverent to an almost masturbatory extent, the film starts right where 2017’s Logan concluded. In classic Deadpool fashion, he speaks directly to the audience while using Wolverine’s decomposed skeleton to decimate oncoming TVA agents to the tune of NSYNC’s BYE BYE BYE. Taking the multiverse shenanigans of post-endgame MCU to the extreme, Deadpool & Wolverine manages to reinvigorate Marvel’s fourth-phase slump, while packing the entire movie with enough fan service to make even the most casual fan salivate.
In 2019, Disney acquired Twentieth Century Fox for a whopping $71 billion and immediately renamed it to 20th Century Studios. This marked the final nail in the coffin for what was once a legendary studio, home to more iconic franchises than Deadpool has Disney-friendly euphemisms for cocaine. Allegedly, the prospect of adding the X-Men to its billion-dollar Marvel Cinematic Universe (MCU) was the main motivation for the purchase. However, it left an important question unanswered: how will Fox’s favourite mutants wrap-up their convoluted (and occasionally disastrous) story?
The film gives Marvel a clean slate to work from, but more than that, helps us wash the salty taste of 2019’s Dark Phoenix from our mouths. With the titular characters travelling to “The Void”, a location for discarded characters accurately described as “a little Mad Max-y”, hilarious dialogue carries us from one gratuitous action scene to the next. Unfortunately, the plot and character work to take a back seat to Director Shawn Levy’s insistence on ever present winks to the audience.
The movie does more than laugh at the decline of Fox (who infamously butchered Deadpool’s first appearance), instead choosing to arrange a worldwide chorus of audience members to roar directly in their face. With a $400 million global box office, it is safe to say it managed to arrange a two-hour contemporary dance on Fox’s grave. But nonetheless, Reynolds’ love of the character can be felt in every drop of blood on-screen.
Deadpool & Wolverine wraps itself up with a montage of bloopers and clips from some of the most iconic scenes in the 22-year history of Fox’s X-men. The movie goes to great lengths to give every character stuck under the Fox umbrella a conclusion worthy of their influence. The modern reincarnations of the characters are given as much respect and presence as their original versions.
With some actors having portrayed these characters for the better part of two decades, Deadpool put a heart-shaped bullet hole into some of my all-time favourite characters. With the intricate web woven ever larger with each MCU release, this movie is a direct lesson. A character may actively desecrate everything you hold dear as a fan. And all you can do is enjoy the ride.
FEATURED IMAGE: Deadpool & Wolverine promotional poster. Photo: Disney
The inner-city housing crisis and the plight of the marginalized was in the spotlight in a powerful tale of humor and tragedy.
‘Kwa’Mnyamandawo’ is the seventh play by ‘Kwasha! Theatre Company’ which ran at Market Theatre from July 18-21, 2024.
It follows an investigative journalist named Penelope seeking to uncover the truth behind the housing crisis in Hillbrow through the help of a local tour guide. Her findings reveal a story of corruption and human neglect indicative of life in the inner city.
As one walked into the theatre, they were met by two walls with faded paint and exposed brick, one bearing the words ‘kwa’mnyamandawo’ or ‘the dark place’ spray-painted across it. Below, litter was scattered across the floor and a projector played real Eyewitness News coverage of a building fire in the background. This set the tone for what was expected to be a bleak telling of inner-city trauma.
Speaking to cast member Wenziyweyinkhosi Myeni, she says: “It’s about time that we start seeing stories we’ve never seen before. You may look at the buildings and the people that come from there and think their stories don’t need to be told, but those are the exact stories that need to be told!”
However, the hour that followed was anything but. As the lights dimmed and the projector cut, the audience’s silence was met by the harmonizing of the four-cast ensemble as the tour guide delivers a dispassionate sales pitch of Hillbrow. “Brothels and strip clubs make perfect for first dates!’” he proclaims to a snickering audience.
Dance and humour was a feature throughout Kwa’Mnyamandawo. Photo: Kabir Jugram
But the laughs would not end there. From the exaggeration of the swaggered walk of boys that don sporties (bucket hats) and studded earrings to the impersonation of rude yet clueless cops, the characters on display were caricatures of people we all know and see daily. Pair this with continuous choreography and melodies backing even the most mundane scene of daily routines of those in hijacked buildings, and daily life in the inner-city was splashed with colour.
Yet the consistent humour would not belittle the gravity of the play’s theme. As the play ends- after the police burn down an occupied hijacked building to conceal evidence of a syndicate – the lights dim, the actors turn to the projector and footage of real interviews with fire survivors plays, a reminder that the themes illustrated in the play are in fact a reality for many.
The play ends with real footage of a building fire being projected in the background. Photo: Kabir Jugram
Cast member Xhamla Samsam stated: “humour (is) the way of nursing the real wound that lies behind”. And that is exactly what this play is all about- using humour to make sense of trauma, the only way us South Africans know how. The result of this is a play that is complex yet digestible, relatable and unapologetic in its messaging.
Vuvu rating: 9/10
FEATURED IMAGE: The tour-guide and journalist engaged in argument. Photo: Kabir Jugram
Since her announcement as the Democratic Alliance’s mayoral candidate for Johannesburg, Helen Zille has dominated national headlines. In this bonus episode of We Should Be Writing podcast, hosts Lulah Mapiye and Bonolo Mokonoto dissect a media meet-and-greet with the mayoral hopeful. From her extensive political résumé to her controversial public utterance, we examine why the Democratic Alliance has chosen Hellen Zille as their candidate for the 2027 local mayoral elections. Additionally, […]
