The COVID-19 pandemic and the measures taken seem a distant memory. One of the lingering effects is an appreciation for human connection and the importance of families, both traditional and found. It is this sense of family and connection that runs through many of the student films featured in this year’s Durban International Film Festival programme. Students from China, Egypt, Europe, the Middle East, South Africa, the UK, and the USA have created compelling small vignettes of situations where human connection is paramount.
Family connections cross cultural and geographic boundaries, and whether it is a mother returning to her roots with her child in Qwa Qwa in MFE2 Dilo-Dilo or a mother and her son dealing with his academic failings in India in Roll No. 52, the power of family bonds overcomes adversity. A son unravels the reasons for his mother’s isolation in the Belgian film, Noham, while in The Taste of Pork Belly, a young boy revolts at the lengths his mother will go to acquire this delicacy for him. We follow Aaron, a young man in Belgium, as he strives to keep his younger brother, James, safe in a complex world in The Kids Will Be Alright. Exploring both the challenges faced by young adults and the role they play in their families; this delicate portrait immerses the viewer in an ordinary and fulfilling life.
Maternal relationships are often complicated, and in Hoda – Mother on Hold, tattooed choir singer, Coptic Christian, and fighter against adversity, Hoda, pours her deep maternal longing and care into Mariam, a resident at a children’s home in Egypt. Simultaneously she struggles with her relationship with her own mother, which has always been fraught with conflict. Twelve-year-old orphan Nesma is the titular heroine of Nesma, in which she pretends to be her deceased caregiver to avoid returning to the orphanage. Pre-recorded tapes of her carer’s voice and mimicry of her actions fall short when the orphanage requests an in-person check- in. An orphan is also the show stealer in the delightful Leapt Niches. It shows the connection between the six-year-old Allie and her grandfather, with whom she unexpectedly moves in. He lives in a fantastical deep-sea exploration submarine and finds sharing his space with a new inhabitant a challenge. Allie covers every conceivable surface with drawings, much to his dismay. The resolution of their conflict is a mesmerising, animated immersion into the wonders of bioluminescent creatures.
A fractured relationship between a father and his daughter is the theme of Thursday, which follows the pair who struggle to find common ground while in search of a meal. The search for nourishment and mutual understanding is entwined in this exploration of societal expectations of fatherhood and intergenerational communication. Generational legacy and a shared business interest bind Faizel and his son Shuaib in For His Sake. Set in the heart of Ida’s Valley in Stellenbosch, this intimate portrait of a family barber highlights the strong family connections and their shared history with the local community.
Not all family connections are welcomed though, and when Aziz, an ISIS fighter, takes an incredibly young European ISIS convert as his second wife, his first wife, Amuna, is not pleased. Filmed in the Syrian desert, Walud focuses on ISIS as one of the most extreme versions of the patriarchy and sheds light on the silent and often invisible resistance of women in parts of the Middle East. The searingly honest film is loosely based on the filmmaker’s own sister’s life. Also rooted in the director’s personal life is Dou. Jing Zhao’s family history of domestic violence and her deep interest in Chinese mythology are the basis of this otherworldly and contemporary adaptation of a Chinese folktale from the 18th-century tale collection, Liaozhai. A young woman chooses to escape from her dictatorial husband’s abuse when she transforms into a fox and haunts his every move.
No More Pool Time tackles the impact of climate change and the role of personal responsibility in combatting it. Philip builds a pool for his daughter, Luna, in Germany. Can he justify filling it with 50 000 litres of water while his partner tries to raise money for a drought-stricken village in Africa? The protagonist in Sweden is submerged in the pedantic bureaucracy of the Swedish system. His existential struggle leads him to the conclusion that perhaps Sweden is not quite as unique as he had imagined.
Stay Out of the Sun is a collaboration of three young students in the USA interrogates the messages they have received throughout their lives about skin tone and the long-lasting effects, overt and subliminal. Including excerpts from historical advertisements promoting toxic skin-lightening products, the long shadow of racism and colourism is explored from a very personal viewpoint. A personal portrait is at the heart of Marie & Me. A young woman reconstructs her identity and confronts her tumultuous past as an escort in an attempt to resolve the trauma she has faced. Her attempt to find hope in the darkness of her history and rise above it is a story of courage, compassion, and self-forgiveness. None of these characteristics is evident in The Penitential Act. Penance and punishment are the main thrust of Father Upton’s preaching in the church to which John returns after his release from prison. Hellfire and brimstone are the bedrock of the priest’s belief system, and John finds no solace in this dark tableau of religious fervency.
Formative bonds of love between parents and children, the estrangement between a man and his faith and our connection to the earth – so many nuances of connection are explored in this compelling programme of student films. This array of short films is a testament to the creativity of student filmmakers. The wide range of topics explored, creative style and cultural perspectives offer audiences the opportunity to celebrate the young directors of the future.