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Added: Antwain Estabrook - Date: 30.01.2022 11:24 - Views: 33434 - Clicks: 8863

Subscribe or . A party pooper is the last thing I want to be. Nobody likes a buzzkill, and I so badly want to jump on to the sexy, cosmopolitan bandwagon of enthusiasm for the success of home-grown romantic comedies at the box office in recent months. And in a of meaningful ways, I am truly enthused. Akin Omotoso challenged commercial cinemas to take the risk of stepping outside the margins of business algorithms that favour global whiteness over local blackness with the release of Tell Me Sweet Something last year.

In a public letter, he laid out his mandate. In other words we set out to disprove this myth. This is certainly worthy of celebration. But commercial filmmaking is fundamentally an exercise in myth-making, and it would be naive to say that these films do not have their own alternatively fantastical nature. The effect is a compound one. This is how you build an audience for a kind of film, or, in commercial terms, a market for a commodity, through consistent and repeated exposure.

The world of the romantic comedy is aspirational and relatable, and the construction of this hypothetical reality is reconfirmed with each iteration of itself. A cookie-cutter form is emerging in which beautiful South African people bat their eyelids coyly at each other over champagne flutes against backdrops of expensive wallpaper, and audiences are happily handing over rands in exchange for these cookies.

The poster for the film, directed by Adze Ugah, raises the first red flags. Dineo Moeketsi stands between two gorgeous slabs of man meat — suave Thapelo Mokoena and guy-next-door Lehasa Moloi — with her dainty hands raised in a cutesy, indecisive shrug that is emblematic of the ditzy romcom heroine. Mokoetsi plays Gugu, the classical woman scorned, whose taste for men has been tempered by having been abandoned on her nuptial bed.

Her intolerance for the men she encounters is fuelled by their observation of her undeniable beauty. Her career in advertising is her new priority, and she is charged and ready to shatter glass ceilings. The writers get ificant mileage out of poultry metaphors, in case you were wondering. After some back-and-forth through a narrative that is lightly satirical, sometimes funny, and always a little self-conscious, Gugu makes some mistakes, but ultimately finds her right guy and the Shakespearean comic resolution is found.

The film is undoubtedly charming and well executed and is populated with an impeccably beautiful, if slightly stiff cast. Immaculate styling and cumulative TV fame add a lifestyles-of-the-rich-and-famous patina to its surface, and exemplifies a burgeoning star system that is certainly beneficial to the economic sustainability of the South African film industry.

In the fantastic parable of this love story, I wanted her to be Lilith, not Eve, and I was disappointed. Yet, this gift of representation and recognition comes at a price, a price that black women strictly abide by the demands of a patriarchy that does not have their best interests in mind. Digital subscribers get access to all of our award-winning journalism, including premium features, as well as exclusive events, newsletters, webinars and the cryptic crossword.

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Nice guy looking for miss right

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