Tea time with Lokoza

Interview with Isabelle Mayor and Zee Ntuli, directors of Lokoza

 Themba looks much younger than Khanya, his best friend. How old were the characters supposed to be in the scenario? Was this choice motivated or specifically necessary?
The age difference between the two characters is very much a conscious decision, made to explore the delicate difference in world view between pre-teens and teenagers. The role was written for Thembalethu Mncube, the actor who plays Themba. Zee Ntuli, the South African co-director has a previous relationship with him, together Isabelle and Zee constructed the role around his essence.

 What were you interested in with depicting Lokoza‘s environment, between beach and refinery?
The oil refinery which forms the central backdrop for the film, is a very real and active danger both to the inhabitants of the nearby community, as well as the environment as a whole. Whilst researching the film, we discovered that the pollution has caused severe pulmonary diseases including cancer in a vast number of the disenfranchised inhabitants of Wentworth. The stark contrast between the raw, natural beauty of the surrounding area and beaches, and the monstrous, destructive man-made structure provided us with strong visual symbolism crucial to the film.

 Lokoza asks the question of trust, in yourself, in your dreams, in others, in God… Why did you choose this topic and do you think you will deal with it again in your upcoming films?
Yes. We both want to direct films that are very grounded in the territory and its background. In today’s post-apartheid era South Africa, trust is a crucial issue. This is a country still baring the scars of betrayal. The oppressive regime instilled a sense of distrust between racial boundaries as well as personal relationships. The film sets out to explore the residual effects of the system, the scars of the past. Anger, trust and hope are all vital to this issue.

 How did you work on the light and colors?
The visual approach of the film regarding lighting was constructed around natural lighting. The vast majority of the film just makes use of the pre-existing lighting present in the locations. The sodium street lights, fluorescent bulbs, as well as halogen security lights, combined, creates an atmospheric and almost sickly lighting design naturally. Our work was to emphasize this dynamic effect to enhance the overall mood of the film, while remaining true to the reality of the location.

 Why were you interested in Themba’s father character and why does every talk they have had to revolve around the father’s body but never Themba’s?
Themba’s father’s character symbolically represents the scars of South Africa’s past. His burns have become a crucial facet of his identity. As Themba begins to manifest his own scarring, he makes a conscious effort to conceal his suffering from all of those around him. Even his own father.

 Lokoza also raises the issue of physical or psychological violence in relationships and intimacy, did it came out on purpose or was it only used as a cover?
The physical and psychological violence present in the film represents the harsh reality of the actual location. The neighborhood portrayed in the film is an unfortunately turbulent environment.  We made a conscious choice to not avoid this reality. This violence is also a way of placing Themba’s youthful, idealistic outlook under threat. In order to appreciate the light, we need the dark.

 Any cinematic coups de cœur in the past year you’d like to tell us about?
Both of us have numerous films that have influenced us as filmmakers. To fully outline these many fantastic films would be an endless endeavor. Last year, while we were shooting, there was Victoria by Sebastian Schipper or El Abrazo de la Serpiente by Ciro Guerra that both of us really enjoyed. It is worth mentioning that during the process of codirecting Lokoza we have shared common themes and issues that resonate with us both as filmmakers but also as individuals.

 If you’ve already been to the Clermont-Ferrand, could you share with us an anecdote or story from the festival. If not, what are your expectations for this edition?
Zee’s short-film Bomlambo was selected in 2011 but he didn’t get the chance to come because he was still at school. Isabelle came first as a spectator in 2010 and that’s where everything starts for her while she met Fabienne Aguado, the director of filmwriting residency Moulin d’Andé. She presented to her a concourse for young filmmakers organized by the Eure Department. She was then selected and that’s how all started for her.

 Are other releases scheduled?
Yes, at HKIFF in Hong Kong and in Italy at Filmcaravan. The film was already traveling. It was premiered at Directors’ Fortnight in Cannes. Then, it won the French Television Price at Cinebanlieue Festival, was also selected at Winterthur Kurtzfilmtage, Journées de Soleure…

 Are you taking part in other events during the Clermont Ferrand Film Festival? (Espressos, conferences, other?)
Yes, I’ll do as many things as possible. I will meet professionnals in order to prepare my next short film Or blanc (White Gold) which will also treat an issue connected to global warming in a poetic and symbolic way, through the imaginative eye of a child.

Lokoza is being shown in National Competition F2.