District 9 proves there's more to SA film than Schuster comedies

By Adam Wakefield

The spaceship hovers over Johannesburg as the restlessness that lies below grows to a point that will engulf the whole city. People are complaining that the uitlanders, the prawns, are a societal nuisance and that they should “go back to where they came from”.

The above is a very, very condensed and simplified version of the beginning of District 9, the South African-produced film directed by Neill Blomkamp and financially backed by Peter Jackson of Lord of the Rings fame. The film’s budget was $30 million, which by modern standards is pocket change. District 9 is doing well in the United States, the United Kingdom and in other countries around the world. Though many fine films have been produced in South Africa, District 9 is one of the first to have high-crossover appeal with other audiences in other countries without losing its distinct South African flavour.

When “the buzz” started doing the rounds before the film opened in this country, I was slightly sceptical about all the hype, since I’ve heard this talk before and then been disappointed. Having now seen the film, I can happily say that it was thoroughly enjoyable and I would need to see it again (and want to) so I make sure I haven’t missed anything, as one often does when seeing a film for the first time.

Facts about the film, such as lead actor Sharlto Copley never having acted before and many moments in the film being improvised, can be found elsewhere. One thing that should be said is that District 9 is an excellent example of what the South African film industry can produce when given the chance — $30 million isn’t much, but convert that into R240 million rand and, hayibo, that’s some serious grease money.

In the past, South African filmgoers have been treated to Leon Schuster comedies, dramas from Paljas to Tsotsi, off-beat comedies such as Bunny Chow and several foreign films about South Africa that often suffer from the loss of nuance that only a local eye can see or notice. There are many others that I have not mentioned, with numerous niches being covered by South African cinema.

A quick search on the internet shows that since 2000, 27 films have been produced within South Africa. I didn’t know that and many of the titles (available on Wikipedia) I hadn’t heard of either. From 1990 to 1999, 18 films were produced. The number of films produced from 1980 to 1989 numbers more than 50. Though I can only assume that the political turbulence of the 1980s provided a feeding ground for content, it only skates the surface. South African cinema is often complex and informative but with the most successful South African film before District 9’s release being Mr Bones 2, South African filmgoers have often gotten a raw deal.

Why we haven’t seen as much as we could, excluding Schuster comedies and the odd film to break through after belated success (Tsotsi) could be attributed to several reasons or assumptions: the fees charged by Ster Kinekor and Nu Metro to carry a movie are too exorbitant for most South African film-makers, South African films aren’t good enough or South Africans aren’t interested in watching intellectual South African cinema.

District 9 has proven that our films are good enough, and Schuster has proven over a long career that South Africans enjoy movies about South Africa … which leaves us with the movie houses. I am not sure, but there must be something about our audiences mainly being force fed only American or British titles, along with the odd foreign film which has proven to have transcended foreign markets, excluding Cinema Nouveau which isn’t targeted at the mainstream.

On South African radio, stations are obliged to play between 30 and 40 percent (if not more) local content. South African TV is home to many locally produced TV shows. Why hasn’t film crossed the Rubicon per se when clearly the quality and intellect is out there? Cape Town, as an example, is home to some of the best advertising agencies in the world, let alone Africa, if international rewards are anything to go by. The talent is there.

District 9 is a triumph for its filmmakers because, apart from making a rather festive profit, it has shown that popular South African film is more than slap-stick Schuster comedies (with all due respect to Leon Schuster, who spreads his influence through making others laugh in a country that often becomes down-cast at its own failings) or a Gavin Hood (also, with due respect) production.

Let’s hope we continue to see more intellectually engaging content such as District 9 emerge from our soil because South African film definitely has the capability. All those with the finance pay attention …

Adam Wakefield is a journalist based in Cape Town who primarily works in sports media but takes a keen interest in SA politics and media trends.