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
‘Barbie’ dominates the box office, with millions of tickets sold in its first weekend of release
In a whimsical fantasy comedy film, Barbie’s, writer-director Greta Gerwig humanises the infamous doll by critiquing the unrealistic beauty standards it represented for many young girls around the world.
With the rise of the feminism movement in the 2000s, Mattel Barbie doll’s popularity waned as consumers did not like what the doll stood for: sexism, negative body image, and its lack of diversity.
Bearing these debates in mind, Gerwig’s movie takes a different route, in the film, she takes us through the journey of Barbie, played by actress, Margot Robbie, whose perfect world is tainted after she repeatedly has thoughts about death.
To fix this, she is advised to travel to the real, to meet her owner, who might be the one struggling mentally. She is accompanied by fellow doll Ken, who discovers patriarchy and seeks to implement it in Barbieland.
One particularly pleasing aspect about of the film is how it was able to showcase that women in the real world are still being reduced to their beauty and body; while in Barbieland, they are seen as people, who are celebrated for their intellects
Matriarchy and patriarchy are both put to the test in the film. However, although the film tries to send across a message of women empowerment, it makes it seem as though a world run by women would disregard the role that men play in society. This is in contrast with what feminism stands for, and that is equality for all genders.
In its first weekend of release, the movie made $162 million in North America, while cinemas in Sandton, Montecasino and Clearwater Mall in Roodeproot were filled with eager fans.
Whether you love or hate the seemingly perfect doll, are male or female – we all have something to learn from her. Be it doing some self-introspection or unlearning patriarchal mindsets.
The Barbie movie premiered in cinemas on Friday, July 21, 2023.
Vuvu rating: 8 out of 10
FEATURED IMAGE: Barbie movie poster starring Margot Robbie who plays ‘Barbie’. Photo: www.barbie-themovie.com
Prime a popular drink amongst teenagers fails to quench thirst with no guarantee it won’t leave a bad taste in your mouth
Prime, the new popular range of sports and energy drinks amongst teenagers that retailed in South Africa at Checkers stores from May 1, 2023 disappoints in taste.
The drinks were launched in 2022 by popular YouTubers, Logan Paul and Olajide Olayinka Williams Olatunji also known as KSI. “We created Prime to showcase what happens when rivals come together as brothers and business partners to fill the void where great taste meets function,” said the pair on their Prime website.
The drinks, which are marketed by Prime Hydration have been publicised on social media platforms that it was sold out shortly after it was stocked to retail, with scores of teenagers and parents standing in long queues to stock up.
I had been trying to get my hands on it for more than a week before it was finally restocked at my closest Checkers in Rosebank mall. The drinks are clearly in high demand, thanks to its brand reputation and how well it was advertised by the YouTubers.
There are four flavours to choose from which are: tropical punch, lemon lime, ice pop and blue raspberry. I got all four bottles, with each drink retailing at R39,99.
The ice pop flavour tastes like medicine, it’s sweet and bitter at the same time and it leaves an after taste in the mouth after drinking. The blue raspberry tastes a bit sweet. You can taste the raspberry flavour in it as well as the coconut water. It also tastes similar to the Powerade energy drink, the mountainblast flavour.
The lemon- lime flavour, tastes good with a hint of sweetness and bitterness, you can taste the lemon lime in it. While the tropical punch flavour is sweet and it tastes like a combination of guava juice and watermelon.
Despite the flavours, the drink does not hydrate, instead, I had heart palpitations a few minutes after consuming the drinks – even though I did not taste all of them at the same time.
Uyathandwa Mani, final year BCom student at Wits told Wits Vuvuzela that she did not feel any difference after drinking it, “it did not hydrate me at all, the only thing I felt was a headache.”
The ingredients listed on Prime include: 10,5% coconut water, filtered water, branch chain amino acids, electrolytes, vitamin B, E and A, citric acid, several antioxidants and flavouring.
The Sport Science Institute of South Africa (SSISA) said on their website, “Although the Prime website claims the Hydration drink to be suitable for all ages, other sources have warned children under 15 years old from consuming it. Based on the nutrition label provided on the Prime website, the Prime Hydration drink compares with similar drinks in the sports/hydration category.”
However, the two creators said in a video on Paul’s YouTube channel that Prime hydration drink has no caffeine which makes it safe for children to consume whereas the Prime energy drink (which is not available in South Africa yet) has caffeine and it’s not suitable for people under the age of 18.
The packaging of the hydration drink is very simple. I like the ice pop flavour bottle which has several colours combined that make it interesting and appealing. The rest are simple 500ml bottles coloured blue, lime and red with the drinks’ name written in black.
Overall, the hydration drink is overhyped as people made exaggerating claims about the drink saying it’s too good and truly hydrates. Wits Vuvuzela rates it a five out of 10 because the taste was disappointing in three flavours. For the price it retails for, one expected more.
FEATURED IMAGE: Friends drinking Prime hydration drinks at night. Photo: Sinazo Mondo
Rosebank’s newest eatery is the coziest spot for winter in Johannesburg.
Fugazzi opened its doors in April 2023 at the Zone in Rosebank Mall to serve soul-warming Italian food with a twist.
This is the latest restaurant venture by Warren Murley, owner of other successful restaurants such as Proud Mary, which is opposite to Starbucks in Rosebank and Mama Samba which lies just next door to Fugazzi. Manager of Fugazzi Marco De Costa told Wits Vuvuzela jokingly that Murley has “a bit of a chokehold on the area.”
It takes a special restaurant to be full of chattering people on a cold Tuesday night and Fugazzi achieved just that.
The cosy wood-finished interior is influenced by 1980’s New York diners, with long red booths lining the walls and 80’s inspired green tiling and eclectic artwork, adding colour to the large, open space.
The vision behind the restaurant’s concept pays homage to the way Italian cuisine has been altered by restaurants in the United States of America. This is why Fugazzi is no regular Italian restaurant, “if you want Andiccio’s, there’s one on every corner, but if you want Fugazzi, this is the one and only” said De Costa, adding that: “Fugazzi means different or messed-up” which means that everything served comes with a twist from the traditional Italian recipe.
The interior and bar of Fugazzi restaurant in Rosebank. Photo: Kimberley Kersten
When entering the restaurant, the warmth from the surplus of gas heaters with bright orange flames flickering around the room immediately makes one forget about the winter outside. The price of the food ranges from R80 to R250 for a main course meal, stretching a student budget slightly. The most affordable beverage option is a soda float or an ice-tea, which will set you back R50, while the pricier cocktail and martini selection ranges up to R100.
The service was efficient and friendly as the waiter was happy to recommend both food and beverages; and brought everything within a reasonable time.
Fugazzi prides themselves on their wine collection, and I was impressed by the recommendation of a glass of Mason Road Chenin Blanc, which was smooth and lightly wooded. It was not too dry and easy to drink.
For vegetarians, the many menu options which catered for me were a pleasant surprise. The waiter’s recommendation was the linguini Aglio e Olio, a linguini served in a sauce made of olive oil, garlic, chilli and cherry tomatoes. The dish was delightfully presented in a tangle of pasta on a long oval plate.
The linguine aglio e olio and the pasta Genovese with glasses of red and white wine inside Fugazzi. Photo: Kimberley Kersten
The food was flavourful and comforting to eat, however the twist from traditional Italian food is difficult to notice. In addition, the waiter said that they don’t make their own pasta dough and so one cannot help but feel that the simplicity of such dishes, does not warrant a price of R95.
The warm interior of the restaurant and the carb heavy nature of the tasty food makes this a great place to go to escape the cold, as winter approaches.
FEATURED IMAGE: The entrance to Fugazzi restaurant in the Zone at Rosebank Mall. Photo: Kimberley Kersten
Jazz musician dazzles music lovers with an acoustic concert
Multifaceted South African musician, Gabi Motuba debuted her new project, The Sabbath in a concert held at Wits Chris Seabrooke music hall on Saturday, May 6.
Motuba is a Johannesburg-based vocalist, composer and music facilitator whose music is centred around world politics, black studies, religion and genre studies. She released her first album, Sanctum Sanctorium in 2016 and Tefiti Goddess of Creation in 2019.
In the project, released on June 28, 2022, Motuba shifted her focus to talk about her experience with grief; as her father lost his battle against Covid-19, during the pandemic. As a result, the project consists of five lamentation songs that would leave any listener in a state of melancholy. Motuba told Wits Vuvuzela that: “The project is largely a very reflective work for me in terms of moving from trauma into grief and into the pursuit of restoration”.
Wits music alumni, Tembinkosi Mavimbela, who played double bass during the performance said that in The Sabbath, Motuba showed immense vulnerability. He described her performance as a form of supplication to a higher power. “Her performance was a prayer indeed; it takes courage to be vulnerable on stage and we shouldn’t look at a Sabbath in one direction because we approach prayer in different ways.”
Thembinkosi Mavimbela interacting with friends and fans after the concert. Photo: Sfundo Parakozov
What added to her performance was the concert took place at the state-of-the-art music hall . The venue is the only space in the city that is exclusively designed to optimize live musical sound with modern acoustic design. This added to Motuba’s exceptional vocal range.
Wits art student, Rethabile Zilila said that she was surprised at how audible everything was but appreciated the spacious nature of the hall.
Motuba explained that as a composure, mostly working with string instruments, she chose the venue because she knew the acoustics of the room will produce a beautiful sound.
The attendees’ sight senses were also activated. While Motuba was performing, there was a background theme inspired by nature on display.
Wits Fine Arts lecturer, Zen Marie, who was in charge of the displays said he sets up the landscape in response to the music.
This was evident as he displayed dark clouds as she was performing a track titled, Nabu Lobosuku , which means here’s the night. This exuded a dimmer and sombre atmosphere with the mood in the room quietening down as everybody was enthralled by her voice.
The final part of the performance had a much lighter and brighter landscape, consisting of clear skies, which was an important moment showing the transition from grief to freedom. One could clearly feel the biblical reference as she sang the last track on the album, Amen, meaning the end.
The hour-long concert was attended by the likes of Thandiswa Mazwai and former head of the Wits School of Arts Professor Brett Pyper.
Rethabile Zilila and Thandiswa Mazwai posing for a picture. Photo: Sfundo Parakozov
FEATURED IMAGE:Gabi Motuba thanking her audiences after her performance. Photo: Sfundo Parakozov
This project takes the reader on a journey across lands to explore the complex nature of memory; leaving them wanting to explore their own.
Uncovering Memory is a powerful book which unpacks a research project aimed at working through personal, familial and societal memories by using film to locate oneself in the current day.
Living in post-colonial and apartheid South Africa, the book recognises that South Africans live in a society that is filled with imagery from the past, and it wants to unearth how these images affect people’s sub-conscious minds.
Written by Wits film and television professor, Tanja Sakota and published by the Wits University Press in March this year, the book is compilation of understandable and practical examples of the power of practice-based research, film and autobiographical style of academic writing that draws on and analyses the author’s own lived experiences.
For example, the book seeks to answer the question of how a student in the 21st century can look at a statue of Cecil John Rhodes during #RhodesMustFall in 2015, and be so emotionally charged to throw feces on a statue of Rhodes. In an interview with Wits Vuvuzela, Sakota describes spaces and places around us as, “deeply entrenched with the memory of the past”.
Using the camera as the primary research tool, Sakota and fellow participants walk through chosen areas which represent something historically important to that researcher, and later, they narrate and critically unpack the impact these spaces had on them. In doing so, they seek to “uncover memory through space and place” to try and “make the invisible, visible through a camera.” Sakota does this in her book as well as in a series of short-film projects under the same name as the book.
Wits Professor Tanja Sakota is all smiles when showing her newly published book Uncovering Memory on April 28, in front of the Wits theatre. Photo: Seth Thorne
In these films, released and explained in tandem with the book, participants explore their own historical trauma. Specifically, and most memorably, Sakota explores her parents own personal trauma through walking along the train-tracks in Poland which once transported millions to their death during the Holocaust in her own short film titled, Shattered Reflection. The topics that Sakota uncovers of her own are at times heart-breaking memories of both past and present, through these spaces.
The book is separated into three main parts: research with students, then colleagues, and finally the authors. The research focused on locations such as Johannesburg, Cape Town, and Berlin.
As much as each part of the book provides well thought out ideas of the subject matter, the work becomes more powerful for the reader as the book progresses. This is due to the increasingly personal style of writing, where Sakota eventually finds herself central to the research, where she is the filmmaker and researcher unpacking both her own personal and family trauma.
The book challenges the concept of research being separate from oneself, serving as a key reference for students and researchers (particularly filmmakers) interested in undertaking a similar journey of uncovering their own memories, in attempts to locate who they are in a postcolonial space.
The book does not have a conclusive ending, but rather serves as a starting point for its readers to use.
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, […]
