What inspired the story behind your short film, “Mbokodo”?
I wanted to tell a story that focuses on gender-based violence, specifically shedding light on a group of people that tend to be unheard and forgotten—children. During my research, sexual violence, in particular, became an area of interest. Although gender-based violence is widely discussed in South Africa, sexual violence against children remains a taboo topic. I thought it was essential to write a story about it to raise awareness of this hidden issue. More importantly, I wanted to provide a voice for children who usually have no idea what is happening to them. The film initiates the conversation, which is always a step in the right direction. The idea of rocks and the wordplay on ‘Mbokodo’ was inspired by an amalgamation of ideas. In townships, children tell stories to each other through a storytelling game called ‘ukuqoqisa.’ They begin by collecting rocks, carefully choosing their characters, and then selecting a comfortable spot to tell their story. The term Mbokodo as the title anchors the story well, referring to both the rocks used in the storytelling and to Sizani herself, embodying the resilience and unshakeable nature of women.
Can you discuss any unique challenges you faced during production?
We faced numerous challenges during production. Initially, we scheduled to shoot the film over two days, but we ended up having only half a day to shoot due to weather concerns. The first scheduled day was hit with unpredicted rain, which lasted the entire day. Consequently, we decided to condense the shoot into one day, which posed a significant challenge, especially since we were working with a minor who could only be on set for a limited time. On the morning of principal photography, our cinematographer was involved in a car accident. Despite this, he soldiered on, and we had to make last-minute arrangements to get a van to collect the equipment. We began shooting at noon and had only six hours to capture the necessary shots, with the weather still gloomy. Fortunately, I was working with a great cinematographer who handled these problems exceptionally well. The young actress we worked with, Sinethemba, managed the pressures of that day with remarkable ease, even with the entire community watching her. Despite not being a trained actress, she performed phenomenally.
How did you approach character development within the limited runtime of a short film?
It was important to create a stark contrast between the character we introduce at the beginning of the film and the character the audience witnesses after a significant revelation. Given the constraints of a short film, we don’t have the luxury of time for gradual character development. Instead, a dramatic shift must occur almost instantaneously to unveil unexpected aspects of the character. The revelation acts as a catalyst, triggering this abrupt change and forcing viewers to reassess their initial perceptions, adding depth to the character and enhancing the narrative impact.
What message or emotion do you hope the audience takes away from your film?
I want the audience to feel empathy for Sizani. To have empathy for her is to have empathy for all young children with similar experiences, as well as for adults who experienced such trauma as children and now bear the scars for the rest of their lives. I hope the audience takes away an awareness of the taboos in our society and how easy it is to overlook these issues, even when they are close to us.
How do you see your short film fitting into your broader body of work or future projects?
I am very interested in the idea of the African Female Gaze, telling stories that place female experiences at the centre from my perspective as an African female filmmaker. “Mbokodo” is the beginning of that repertoire and reflects how my films will be focused in the future. I am particularly drawn to stories that unveil social ills or contain underlying philosophical aspects. “Mbokodo” exemplifies this interest and provides a glimpse into the themes I plan to explore in future projects.
Why are festivals like the FAME Shorts Film Festival so important?
Film festivals like the FAME Shorts Film Festival are crucial because they provide unique platforms for meaningful engagement in filmmaking. They allow filmmakers to interact directly with their audience, fostering a deeper connection and understanding of their work. This engagement enables us filmmakers to receive valuable feedback, gain insights into audience perspectives, and build a community around our craft. Festivals like FAME also nurture talent, promote diversity in storytelling, and keep the culture and craft of filmmaking alive.
“Mbokodo,” directed by Nakesa Ndou, is a poignant exploration of gender-based violence and resilience. Don’t miss it at the FAME Shorts Film Festival.