A child raped by boyfriend, having AIDS, his mother; a view of the Commission of Truth and Reconciliation (created to grant amnesty to all who will plead guilty after apartheid) that uncovers the brutal torture and betrayal at the time of the racist regime; a child living in a village in the area and that after their parents die of AIDS goes to Johannesburg to make a living cleaning windshields at traffic lights to buy a cow that survive their first and grandmother (the first, another girl, has also been raped by her teacher who also has AIDS); a black girl, daughter of racist white Afrikaner parents (an ancestor gene), just being a stateless person (white by birth and a black leather, which at the height of apartheid was a problem, because it was prohibited miscegenation). Is rejected by his parents when just having sex with a black, turn, the beatings hitting just turning it racial hatred toward whites (history, it seems impossible to imagine, is real).
They are all stories of South African films I've seen this week (has given me around, for making me a local film series by the video store). The films are heartbreaking, snacks in the stomach. An argument that devours consciences and teaches the other reality of this country. Reality, at least with regard to AIDS, that can be applied to much of Southern Africa.
Each of these films, “Themba”, “Red Dust”, "Beat the Drum" or "Skin" are based on real events directly or indirectly. But, singular is that one understands that each film has a didactic sense, trying to teach how arithmetic has unfolded while AIDS killed him packing cows. Or try to teach open scars of racial conflict to try not to repeat past mistakes.
The films are heartbreaking, snacks in the stomach. An argument that devours consciences and teaches the other reality of this country. Reality, at least with regard to AIDS, that can be applied to much of Southern Africa.
They are not explicit movies, where he teaches violence or sex with the harshness of European cinema. Here truth is stranger than fiction to arcades. The girl was raped while the teacher wears, background, opens the classroom door. The beatings are found in blood on the floor, in a cry in the shadows ... No need to recreate the viewer with the scene, already does, in many cases, looking out the window. Who needs to pay for recreation with his eyes moistening?
All, I have seen four, have happy endings or, at least, offer hope. As if someone decided to paint a garden on a dunghill. Probably up to be something sappy watercolor finishes, but the cinema is a reflection of what goes out and fall rains of misery here as it crosses the other side, the township and rural villages.
I saw most rudimentary film, made with the same special effects used by the Lumiere brothers in the second century BC, Zulu, last year, it was pretty gore (as everyone can imagine, my knowledge of the Zulu is almost level Zuefl). It was about an albino who was born in a village and two witches were charged to half of Africa to clean machete to ward off evil spirits (in some African communities an albino is a symbol of bad luck, demoniac). The budget should make history Ketchup, because here stained red to the screen. It is the rule by what I saw after. The film shows a hidden reality, is a communication vehicle. There are millions of stories how are you, corner, across. Some only see in movies.
They are all stories of South African films I've seen this week (has given me around, for making me a local film series by the video store). The films are heartbreaking, snacks in the stomach. An argument that devours consciences and teaches the other reality of this country (Always insist on it, but here, and Spain, there are a thousand different ways to survive and enjoy life). Reality, at least with regard to AIDS, that can be applied to much of Southern Africa.
Each of these films, “Themba”, “Red Dust”, "Beat the Drum" or "Skin" are based on real events directly or indirectly. But, singular is that one understands that each film has a didactic sense, trying to teach how arithmetic has unfolded while AIDS killed him packing cows. Or try to teach open scars of racial conflict to try not to repeat past mistakes.
They are not explicit movies, where he teaches violence or sex with the harshness of European cinema. Here truth is stranger than fiction to arcades. The girl was raped while the teacher wears, background, opens the classroom door. The beatings are found in blood on the floor, in a cry in the shadows ... You do not have the viewer to recreate the scene, already does, in many cases, looking out the window. Who needs to pay for recreation with his eyes moistening?
All, I have seen four, have happy endings or, at least, offer hope. As if someone decided to paint a garden on a dunghill. Probably up to be something sappy watercolor finishes, but the cinema is a reflection of what goes out and fall rains of misery here as it crosses the other side, the township and rural villages.
I saw most rudimentary film, made with the same special effects used by the Lumiere brothers in the second century BC, Zulu, last year, it was pretty gore (as everyone can imagine, my knowledge of the Zulu is almost level Zuefl). It was about an albino who was born in a village and two witches were charged to half of Africa to clean machete to ward off evil spirits (in some African communities an albino is a symbol of bad luck, demoniac). The budget should make history Ketchup, because here stained red to the screen.
It is the rule by what I saw after. The film shows a hidden reality, is a communication vehicle. There are millions of stories how are you, corner, across. Some only see in movies.
