WHAT'S GONE DOWN AT LAST TUESDAYS
WHAT'S GONE DOWN AT LAST TUESDAYS
HER LENS: Stories of Memory, Identity & Becoming
HER LENS: Stories of Memory, Identity & Becoming
This Women’s Month, we celebrate women filmmakers and artists who are shaping how we see ourselves, our histories and the world around us.
Her Lens: Stories of Memory, Identity & Becoming brings together four distinctive South African films connected by questions of identity, memory, heritage, creativity and the ways women preserve and reimagine the worlds they inherit.
From Taste of the Land, where indigenous foodways become an expression of memory, cultural preservation and our relationship with the land, to Humdrum, an intimate exploration of the emotional realities hidden beneath everyday life and Dear Sikhonkwane, a deeply personal love letter to language, legacy and cultural memory
Each film approaches storytelling from a different perspective, yet together they reveal the power of women to transform the everyday into something meaningful — food into memory, experience into expression, language into legacy and the earth itself into art.
The conversation goes beyond celebrating women behind the camera. It explores authorship, creative agency, cultural preservation and the power women have to determine which stories, histories and experiences are seen and remembered.
Following the screenings, filmmakers and creatives will come together for an honest conversation about directing, producing, artistic practice, cultural identity, creative resilience and the realities of building sustainable careers in South Africa’s creative industries.
Three films. One powerful idea: when women tell our stories, they don't only preserve culture — they reshape it.
- Lala Tuku, Multidisciplinary Creative Practitioner & Scholar
- Nondumiso Masache, Director: Taste of the Land
- Elelwani Netshifhire, Writer, Director, and Producer: Humdrum
- Khule Mayisa, Editor: Dear Sikhonkwane
THE TAKEOUT
- Culture survives because people actively carry it forward. All three films deal, in different ways, with what we inherit and what we choose to preserve. Taste of the Land looks at indigenous African foodways and ancestral ecological knowledge; Dear Sikhonkwane examines the preservation of SiSwati through writing and education; while Humdrum brings the conversation inward, exploring how we preserve ourselves amid the pressures of contemporary life.
- Language is cultural memory. Dear Sikhonkwane tells the story of Sikhonkwane Steven Mahlalela, one of the earliest SiSwati authors, who wrote, co-wrote or edited over 40 books. His work took place against the marginalisation of African languages under systems including Bantu Education. The film therefore raises a bigger question: what happens to culture when we stop writing, speaking and creating in our own languages?
- Food is an archive. Taste of the Land demonstrates that cultural preservation doesn't only happen in museums, books or films. It happens in what we grow, cook and eat. The film follows Johannesburg urban growers Siwe Ntombela and Forest Ramushwana as they reclaim indigenous foodways, connecting food with childhood, ancestral knowledge, identity, community and ecological care.
- Land is connected to identity, not simply geography. Taste of the Land asks us to reconsider our relationship with land in an urban African context. Indigenous knowledge can inform how contemporary cities think about sustainability, food sovereignty, custodianship and our relationship with nature. Preservation therefore isn't necessarily about returning to the past; it can be about using inherited knowledge to imagine a different future.
- Preserving culture also means documenting the people who built it. Dear Sikhonkwane restores visibility to an important cultural figure whose contribution is not widely known. That creates a powerful discussion around who gets remembered, who gets left out of mainstream histories and the role filmmakers can play in creating an archive for future generations.
- Identity isn't only inherited — it is continually negotiated. Humdrum brings a very contemporary dimension to the programme. Naki is a 33-year-old woman living with functional depression while navigating work, relationships and everyday expectations. A promotion and the possibility of running again begin a journey towards connection and healing. Director Elelwani Netshifhire describes the film as being concerned with routine, silent compromises and the possibility of choosing differently.
- Women's filmmaking can make the seemingly ordinary culturally significant. Gardening, cooking, language, work, running and everyday routines become vehicles through which these filmmakers explore much bigger questions. That gives you a lovely overarching idea: women filmmakers are showing us that our archives don't only exist in institutions — they live in bodies, kitchens, gardens, words, memories and everyday experience.
- Storytelling itself is an act of preservation. Film doesn't simply represent culture; it records it. These filmmakers are deciding what gets remembered, whose experiences are documented and what future generations will be able to see of South Africa today.
The Architects: Before Access. Before Recognition. There Was Them.
The Architects: Before Access. Before Recognition. There Was Them.
Long before transformation became a mandate, a generation of Black creatives were breaking barriers across advertising, film, and television—often without recognition, access, or formal pathways.
This session celebrates the pioneers who opened doors and built pathways where none existed, from the first Black-owned agencies and commercial directors to the producers who championed new voices. But this is not just a story of “firsts.” It is a story of continued impact.
Many of these trailblazers are still actively redefining the industry—building businesses, mentoring new talent, and shaping the next generation of African storytellers. Their influence continues to lay the foundation for a more inclusive, competitive, and globally relevant creative economy.
This conversation explores how advertising became a gateway into film and television, how these pioneers created opportunity in the absence of access, and why their legacy is not behind us—but still unfolding.
- Ayanda Mandisa Bandla-Ngubane, Founder, Mandisa Group (Pty) Ltd
- Mqondisi "MQ" Ngubane, Co-Founder, Vignette Africa
- Qingqile "WingWing" Mdlulwa, Founder, Wingman Creative
- Tshepiso Chikapa-Phiri, CEO, Known Associates Group (KAG)
- Melusi Shabalala, Executive Creative Director, VML
THE TAKEOUT
- Access was never given — it was created. The panellists’ careers began through persistence, ingenuity and sometimes sheer audacity. Their stories highlighted how Black creatives had to actively manufacture opportunities in an industry that was not designed to include them.
- Transformation is about who gets to tell the story. Progress cannot only be measured by seeing Black faces on screen. A significant shift happened when Black creatives gained greater influence over how Black lives, experiences and aspirations were represented.
- The pipeline of Black women exists — the opportunities don't match it. Film schools are producing talented Black female creatives, yet women remain significantly underrepresented in positions such as commercial directors. The issue is not a lack of talent; it is access, opportunity, sponsorship and who gets invited into the room.
- Gatekeepers have a responsibility to open doors. Those who now hold influence need to actively identify, champion and create opportunities for the next generation rather than expecting emerging talent to overcome the same barriers they did.
- Creative talent alone is not enough for entrepreneurship. For creatives moving into agency or production company ownership, business skills are essential. Financial management, leadership and commercial understanding can determine whether a creative business survives.
- Ownership is the next stage of transformation. Representation matters, but sustainable change comes when creatives also own companies, IP and platforms and have greater control over where opportunities and investment flow.
- The baton has to be passed intentionally. The industry's pioneers fought their way into spaces that previously excluded them. The challenge now is ensuring the next generation doesn't have to fight exactly the same battle.
The Reality of Reality TV: Building a Hit Show from Screen to Social
The Reality of Reality TV: Building a Hit Show from Screen to Social
Reality television has evolved from guilty pleasure viewing into one of the most influential and commercially successful genres in entertainment. From shaping popular culture and launching careers to driving social media conversations and creating multi-platform brands, reality TV has become a powerful force in how audiences consume content.
But what separates a hit reality show from one that disappears after a single season? What is the art behind creating compelling reality television, and why are audiences more obsessed with it than ever before?
Using Life with Londie London as a case study, this candid conversation brings together the key players behind the show — the commissioner who backed it, the production team that crafted it, and the star who lives it.
Ultimately, the session asks: What makes great reality television — and who really creates it: the commissioner, the producer, the editor, the audience, or the person living it?
- Moderator: Ayanda G. Thabethe, Show Host, Expresso and Afternoon Express
- Mbali Ntuli, Head of Unscripted Content, MultiChoice (A Canal+ Company)
- Kabelo Moremi, Senior Commissioning Editor, MultiChoice (A Canal+ Company)
- Grant Flynn, Chief Creative Officer, Rapid Blue
- Mogezi Zulu, TV Personality and Content Creator
THE TAKEOUT
- The audience is the new commissioner. Social media engagement, online conversations and audience sentiment are increasingly influencing what gets commissioned, renewed and developed.
- Content must work beyond broadcast. Successful reality formats are designed to live across multiple platforms, with social media becoming an extension of the viewing experience rather than an afterthought.
- Authenticity is non-negotiable. Audiences can quickly identify manufactured moments. The most successful reality television is rooted in genuine characters, authentic stories and credible storytelling.
- Local stories have global potential. Distinctly South African stories resonate because of their authenticity. Rather than diluting stories for international audiences, leaning into local culture creates stronger global appeal.
- The business of reality TV is evolving. Producers need to think beyond creating a television programme and focus on building content ecosystems that engage audiences across broadcast, digital and social platforms.
- Data and audience behaviour matter. Understanding how audiences consume, share and respond to content is becoming as important as the creative process itself.
- Commissioning is changing. Broadcasters and platforms are looking for ideas that demonstrate audience engagement, strong digital potential and long-term franchise value.
- Collaboration is critical. Building a successful reality format requires close collaboration between broadcasters, producers, digital teams and marketing from the earliest stages of development.
- The industry is changing rapidly. Shifting viewing habits, new technologies and changing commissioning models mean producers must continually adapt and innovate.
- Conversations like these matter. Industry forums provide invaluable opportunities to share knowledge, identify emerging trends and help shape the future of African television.
Paradys: When Communities Tell Their Own Stories
Paradys: When Communities Tell Their Own Stories
Paradys marks a defining moment for South African television, placing identity, representation, and authorship at the centre of its storytelling. This session will explore how the series foregrounds authentic voices, with characters telling their own stories while reflecting the richness and complexity of the Coloured community. The conversation will unpack the responsibility of representation, the importance of culturally specific storytelling, and why authenticity matters in connecting with modern audiences.
- Melissa Nayimuli. Producer: Black Brain Productions (+ session moderator)
- Ilse Klink. Actress: Paradys
- Jacqui Achilleas. Commissioning Editor: SABC
- Lawrancia Mqwebu. Casting + Talent Development: Black Brain Productions
- Lorcia Cooper. Actress: Paradys
- Mandla Ngcongwane. Founder: Black Brain Pictures
- Piet Matipa. Writer: Paradys
THE TAKEOUT
- Communities Must Own Their Stories
A central theme of Paradys is authentic storytelling. The creative team actively engaged community members during the development process, ensuring local voices, experiences and challenges informed the narrative from the outset. This approach gives authorship back to the people whose stories are being told. - Challenging Harmful Stereotypes
The production is committed to moving beyond the narrow and often damaging portrayals of Coloured communities that have historically dominated South African screens. The panel emphasised the importance of creating nuanced, complex characters that reflect the richness and diversity of real lives. - Representation Includes Language
The discussion highlighted the diversity of Afrikaans and the historical exclusion of many dialects from mainstream media. By embracing different forms of the language, Paradys creates space for communities that have traditionally been overlooked, reinforcing the idea that authentic representation extends beyond who is on screen to how they speak and express themselves.
When Movie Mayhem Gripped the City of Gold
When Movie Mayhem Gripped the City of Gold
Attendees got to step back in time to a moment when Johannesburg was making its own bold play for global cinema dominance.
Long before Hollywood became the global capital of film, American millionaire Isidore “IW” Schlesinger set out to build the biggest movie studio in the world—right here in Killarney. From the top floor of the Carlton Hotel, he challenged a fledgling Hollywood, producing large-scale spectacles with elaborate sets, thousands of extras, and epic storylines. Behind the glamour, however, lay political intrigue, clashing egos, scandal, and ambition at full throttle.
In a gripping Q&A-style conversation, award-winning journalist Katy Katopodis sat down with Hollywood on the Veld author Ted Botha to unpack the rise and dramatic fall of Johannesburg’s forgotten film empire.
The session offered rare insight and a powerful reminder: Africa’s cinematic ambition didn’t start now—it’s always been here.
In 1916, just a year after Griffith’s Birth of a Nation and two years after the Italian epic Cabiria, American millionaire Isidore Schlesinger produced—and in part directed—two unprecedented film spectacles in his own “Hollywood” in Johannesburg. The above video shows rare crowd scenes from these productions. While the footage remains unrestored and retains a grainy quality, the magnitude is unmistakable—thousands of extras, expansive sets, and a level of ambition that positioned Johannesburg on the global cinematic map.
THE TAKEOUT
- Africa was in the game early
Johannesburg wasn’t following Hollywood—it was competing with it, producing ambitious, large-scale films as early as the 1910s. - Big vision builds industries
IW Schlesinger created a fully integrated film empire—proving that bold thinking and infrastructure can position a market globally. - Control the value chain
Owning production, distribution, and exhibition was the real power play—then and now. - External forces can make or break you
Politics, regulation, and global shifts shaped the rise—and fall—of the industry. - The opportunity now is to do it again—better
The talent and ambition have always been here. The focus now is sustainability, ownership, and global reach.
Behind the Scenes of 'Bad Influencer' - From Idea to Global Sensation
Behind the Scenes of 'Bad Influencer' - From Idea to Global Sensation
Attendees got a front-row seat to the creative chaos behind Bad Influencer—one of Netflix’s most talked-about South African drama series. It reached number three on Netflix's Global most watched shows. The conversation featured the people who made it happen, bringing together the producers, director, and key creative voices behind the show for an unfiltered look at how a local idea turned into global viewing. The Bad Influencer session pulled back the curtain on how a South African story scaled to a global Netflix hit—covering everything from creative decisions to on-set chaos and the real work behind making something travel. From story origins to production pivots, the conversation was honest, sharp, and exactly what the room came for.
- Nosipho Dumisa-Ngoasheng. Award-winning Director-Writer, Showrunner, Creative Producer and
Co-Founder, Gambit Films - Keitumetse Qhali. Award-winning Director: 'Bad Influencer', 'Blood & Water' and 'BEFORE JIVA'
- Kudi Maradzika. Award-winning Producer and Founder, Lincoln Green Media.
She created 'Bad Influencer'. - Waldemar Coetsee. Award-winning art director and production designer
- Hallie Haller. Film Director and Media Artist
THE TAKEOUT
- Strong stories travel—but only if the execution holds
- The right team is everything
- Chaos is part of the process—how you respond is what counts
- There’s no single path… but there is a standard
