Angus Gibson

The gangster Manysia is given a second chance after his release from prison. Reverend Jacob Musi takes him under his wings, both as a promise to Manysia’s father and as an act of benevolence. Reverend Jacob thinks that everyone deserves a fresh start and his family generously welcomes Manysia, especially the reverend’s son. But soon the past will cast its shadows over them again.

The gangster Manysia is given a second chance after his release from prison. Reverend Jacob Musi takes him under his wings, both as a promise to Manysia’s father and as an act of benevolence. Reverend Jacob thinks that everyone deserves a fresh start and his family generously welcomes Manysia, especially the reverend’s son. But soon the past will cast its shadows over them again.

Bogotá, 6 de Noviembre de 1985. 11:20 am. 35 hombres fuertemente armados pertenecientes a la guerrilla del M-19 se toman el Palacio de Justicia, sede de la Corte Suprema de Colombia y símbolo de su sistema judicial; toman como rehenes a cientos de personas, incluyendo a casi todos los magistrados de la Corte Suprema de Justicia. Su exigencia es hacerle un juicio público al Presidente de la República; el Gobierno se rehúsa a negociar y las Fuerzas Armadas abren fuego contra el edificio.

Un documental que narra la vida del líder sudafricano Nelson Mandela. Mandela es probablemente mejor conocido por sus 27 años de prisión, y para poner fin al apartheid. Pero esta película también arroja luz sobre el primer período poco conocido de la vida de Mandela.

Felix in Exile introduces a new character to the 'Drawings for Projection' series: Nandi, an African woman, who appears at the beginning of the film making drawings of the landscape. She observes the land with surveyor's instruments, watching African bodies, with bleeding wounds, which melt into the landscape. She is recording the evidence of violence and massacre that is part of South Africa's recent history. Felix Teitelbaum, who features in Kentridge's first and fourth films as the humane and loving alter-ego to the ruthless capitalist white South African psyche, appears here semi-naked and alone in a foreign hotel room, brooding over Nandi's drawings of the damaged African landscape, which cover his suitcase and walls. Kentridge has commented: 'Felix in Exile was made at the time just before the first general election in South Africa, and questioned the way in which the people who had died on the journey to this new dispensation would be remembered'.

Sobriety, Obesity and Growing Old picks up the narrative and themes begun in Kentridge's first film, Johannesburg the Second Greatest City after Paris, and follows the development of the relationships between his cast of invented characters, Soho Eckstein, his wife and her lover, Felix Teitelbaum. These relationships reflect, metaphorically, the changing political situation in South Africa at the time the film was made. Demonstrations and marches in opposition to the apartheid régime together with the governmental relaxation of most of the State of Emergency regulations and restrictions heralded the beginning of a change in the country's power structure (and white attitudes towards black African rights). Soho, a symbol of South African white power, develops the capacity for awareness, longing and love and the potential for guilt and repentance.

A journey into the mines provides a visual representation of a journey into the conscience of Kentridge's invented character, Soho Eckstein, the white South African property owner who exploits the resources of land and black human labour which are under his domain. Throughout the film the imagery shifts between the geological landscape underground inhabited by innumerable black miners and Soho's world of white luxury above ground. When Soho, breakfasting in bed, pushes down the plunger of his cafetière, its movement is transformed into a rapid descent through the tray, through the bed and into the mine-shaft. Here the miners' world of overwhelming misery is depicted in claustrophobic tunnels where they are trapped digging, drilling and sleeping, embedded in rock. Above ground, Soho sits at his desk in his customary pin-stripe suit and punches adding machines and cash registers, creating a flow of gold bars, exhausted miners, blasted landscapes and blocks of uniform housing.

William Kentridge’s ironic tribute to his hometown, animated on the basis of 25 drawings, is the first film of his “Drawing for Protection” cycle, in which he unfolds the triangle between Johannesburg building tycoon Soho Eckstein, his wife, and the dreamer Felix Teitelbaum. In this film he introduces the central characters of his meta-narrative which, located in a South Africa of the last days of a crumbling Apartheid, becomes an allegorical reflection on socio-political power relations.