SABBATICAL is written and directed by UCT alumna, Karabo Lediga, and tells the story of a corporate climber groomed to be the next CEO of an elite firm. Her meteoric rise crashes when she is implicated in a miner’s pension fund scandal.
Image: Supplied
There's this wall painting in Johannesburg CBD that one just cannot miss nor ignore. It spells out CALL YOUR MOTHER in white letters on a black background. It's right there at the back of that high-rise Nota Bene student accommodation building in Braamfontein.
Closer to home, right here in Cape Town, the facade of Iziko South African National Gallery has been emblazoned with the very same CALL YOUR MOTHER mural by artist, Ed Young. Cheeky. Simple and effective. A message that pricks izazela zamagoduka [the conscience of refugees].
I found myself thinking about this particular Ed Young artwork whilst watching the preview of a new South African film called SABBATICAL. Set to hit cinema screens this Friday, May 9.
SABBATICAL is written and directed by UCT alumna, Karabo Lediga, and tells the story of a corporate climber groomed to be the next CEO of an elite firm. Her meteoric rise crashes when she is implicated in a miner’s pension fund scandal.
Relatability is the one word I can use to sum up the overall experience of this film, particularly for those who grew up in townships or relatively impoverished backgrounds and were able to secure a job in some or the other big city. It is a lingering reminder that one is one career muck up away from going back ‘home’.
Visit any township and you will without a doubt find many professional returnees, not retirees, lugubriously trolling township streets asking for loose cigarettes or R5.
You will hear whispers of 'that was so and so in his/her time!' You see it in their faded loose-fitting Paul Smith and Aigner t-shirts, worn out Florsheims and bursts of jargon-laden English when inebriated. It is a scary destination. A destination that this film attempts to take us to via its lead character, Lesego (played by Muvhango's Mona Monyane).
Lesego wakes up one morning to find herself back where she grew up, far, far away from her gated community double-storey mansion. She grapples with a R900+ Uber receipt, clearly hungover and unaware she is home until her mother, Doris (played by Clementine Mosimane), enters the room offering to wash her puke-stained clothes. Ashamed. Not much is said about what is going on and why she is there.
From there it is a rollercoaster of schmaltz; being back at home, your mother constantly calling your name, endless errands, being infantilised and a growing sense of obstinance that rewards you with "leave my house!" instructions. All of which is compounded by Lesego's long absence from home. She barely ever visited. For years.
Loyisa Gola as lead investigator Percy Mthimkhulu.
Image: Supplied
The nosy neighbours, childhood sweethearts and friends, you concocting excuses along the lines of "I am just here for the weekend" which becomes a week and then weeks then months.
SABBATICAL blends this emotional weight with sharp humour, brilliant acting and some familiar television faces in roles you might have never associated them with.
It was surprising to see comedian, Loyisa Gola, in a formal acting role. No goofing around or guffaws, just a serious lead investigator named Percy Mthimkhulu studiously chasing down Lesego. His portrayal of this role and his matured delivery of his Xhosa lines left me wondering why we no longer produce vernacular sitcoms or dramas in this country? S’gudi S’naysi, Velaphi, Hlala Kwabafileyo, Lesilo Rula and more. What happened?
Speaking of roles, Mona Monyane as Lesego was an excellent choice; she grimes up quite well and easily glams up for the corporate chic look. There is a certain intensity in her portrayal of this character that you'd be forgiven for forgetting is an act. She goes through the most and the audience will have no choice but to empathize with her.
The film's look and feel is sensual and personal. If you are one of those people who appreciates arty camera angles, Motheo Moeng, the film's director of photography goes all out to visually arrest the viewer.
The at-home scenes did feel a bit long at times and I feel the film did not fully explore the depths of how humiliating Lesego's experience was. It almost felt like everyone understood her situation back home. There's a scene just after Bozza's 40th birthday that left me with question marks. Without revealing too much I would say this is a well-thought out film that steers clear of the traditional happy ending. If anything it leaves one wondering what is to happen to Lesego.
Be that as it may, this is a timely Mother's Day weekend arrival. Call your mother, head down to the cinema and see how both of you feel after watching it.
Cape Times