Q. You’ve worked across the creative industries for many years. What makes Cape Town such an interesting place for film, and what keeps you coming back to the city? 

Cape Town has this incredible creative energy. It’s a city where talent, culture and opportunity come together. What keeps bringing me back is the people. There’s a real appetite to collaborate, create and tell stories. And every time I’m here, I discover something new. 

Q. Film is inherently collaborative, bringing together visual art, music, fashion, design and storytelling. How do you see these creative disciplines influencing one another in Cape Town? 

I think the exciting thing about Cape Town is how naturally these industries overlap. Musicians work with filmmakers, designers influence visual storytelling, and artists bring completely different perspectives. The magic happens when we stop working in silos and start seeing ourselves as part of one creative ecosystem. 

Q. Cape Town has a strong visual identity, from its landscapes and architecture to its fashion and cultural scenes. How does the city’s identity translate into film and screen storytelling? 

Cape Town is incredibly cinematic, but its greatest asset isn’t just its scenery. It’s the diversity of its people, communities and cultures. There are so many stories waiting to be told. I’d love to see us move beyond using the city as a backdrop and really celebrate its identity. 

Q. Music can completely transform the way an audience experiences a film. What opportunities do you see for Cape Town’s musicians and music creators to connect more closely with the film industry? 

There’s enormous potential here, particularly around music supervision, licensing, composition and soundtracks. Through Muziki Africa, we’re actively creating opportunities for musicians to connect with filmmakers and content producers. I’d love to see African music becoming an integral part of our storytelling, while creating new revenue streams for artists. 

Q. Where do you see opportunities for Cape Town’s fashion creatives within the screen industry? 

Fashion is such an important part of storytelling. It creates characters, establishes identity and brings worlds to life. Beyond costume design, there are opportunities in styling, production, collaborations and brand partnerships. Through our African Fashion Forum, we’re encouraging designers to see the screen industry as another exciting commercial opportunity. 

Q. What role do you think Cape Town’s artists, designers and visual creatives can play in shaping the city’s film industry? 

They have a huge role to play. Production design, animation, visual effects, set design and art direction all contribute to what audiences experience on screen. Cape Town has extraordinary creative talent, and I think the opportunity is to bring these voices into productions much earlier in the creative process. 

Q. FAME Week brings different creative communities into the same space. Why is that kind of cross-pollination important for the growth of Cape Town’s creative economy? 

This is really why FAME Week Africa exists. We bring film, television, music and fashion together because opportunities often happen between industries. A conversation over coffee can become a collaboration, a business deal or a new project. We want to create an environment where those connections happen naturally. 

Q. For emerging creatives looking to break into film, what advice would you give them about building connections beyond their own discipline? 

Get out there, be curious and have conversations with people outside your immediate industry. Attend events, ask questions and build genuine relationships. You never know where your next opportunity will come from. And importantly, don’t just network when you need something. Build relationships that grow over time. 

Q. Cape Town already has an established reputation as a production destination. What do you think the city needs to do next to strengthen its position as a home for creative talent and original storytelling? 

We’ve proven that Cape Town can deliver world-class productions. The next step is strengthening our own intellectual property, supporting local producers and attracting investment into African stories. We need to move from being a destination where international productions are made to a city where original content is developed, owned and exported. 

Q. Looking ahead, what excites you most about the future of film and the wider creative industries in Cape Town? 

What excites me is the talent coming through and the opportunities being created by new technology, platforms and storytelling formats. African creatives are finding new ways to reach global audiences. I genuinely believe Cape Town can become one of the world’s most exciting creative hubs, and we’re only getting started. 

The post Cape Town’s creative future: A conversation with Martin Hiller on film, collaboration and storytelling appeared first on Film Cape Town.

Screenings will start at 10:00 on 28-30 October at the CTICC. Read all about each film below.

Cook Sisters | The Animation School

Synopsis: In the small South African town of Robertson, twins with vastly different baking styles attempt to run their family-owned bakery together. Things do not work out as planned with their opposite personalities, especially with a meddlesome fly. 

Director/Producer: Zoe Prinsloo

Laika Goes home | The Animation School

Synopsis: “If home is where your friends are, how far would you go to find it?  

Captain Talia Valentine is an ambitious young astronaut, whose return to Earth is interrupted when she crash-lands on a lonely asteroid. Laika is a little stray dog from the streets of Moscow, who has been stranded on that same asteroid for a very long time…  

Talia is in a one-track mind about finding her way off of this forsaken rock. Laika just seems thrilled to have someone to play with her. But when fixes fail, and unexpected communications bridge the expanse between Talia and the Earth, she realises that Laika may be the key to finding her way home – wherever that ends up being. “

Director/Producer: Can Richards

Where it bleeds | UCT

Synopsis: Allison looks back on how growing up as a girl, anticipating your first period is an exciting time. However, the reality of existing as a woman who experiences severe period symptoms often involves medical staff dismissing your pain and not treating you appropriately. During this time, Allison leans on the support of her mother to work through her physical and mental pain. This is an autoethnographic, experimental documentary that reflects on the psychological experience of medical trauma.

Director/Producer: Allison Fleur

Where are we going tonight? | UCT

Synopsis: The buzzing cosmopolitan that is the City of Cape Town is home to new and emerging talent. Young artists push the boundaries of the sounds that shape nightlife and sonic expression in South Africa. 

DJ and producer Deylin Malachi invites us into their world of music where he re-imagines and participates in the city’s underground electronic DJ and music scene. Through him, we meet Songo Ananda, who alongside him embraces the legacy of authentic expression through electronic music as both a global and local phenomenon. Each testify to following one’s own unique path and the joys of being part of a greater creative collective movement.

Director/Producer: Refentse Gunguluza, Dylan Gast

Roots and Rhymes | UCT

Synopsis:  Roots & Rhymes: The Unfolding Journey of HemelBesem is a 10-minute documentary that traces South African hip-hop artist Simon Witbooi’s journey back to his Khoisan roots. His transformation is visually represented with the cutting of his hair and beard. The camera organically follows and captures the process of his transformation

Director/Producer: Joy Meyer

Still in Play | SA Film Academy

Synopsis: Still in Play is a personal documentary that is centered around the UCT Ikey  Tigers women’s team and is told through the lenses of Natasha Hoffmeester coach and former springbok, Dimpho Kwayine current player and Western Province player, Londiwe Tshabalala current player and captain. It both their love for the sport and the severe discrimination they encounter. We see through their eyes the unwavering commitment required to continue playing a game that frequently ignores them. The film shifts from the excitement of match day to the quiet struggles of balancing jobs, education, and physical sacrifice against the backdrop of South Africa’s rich rugby traditions. It looks the structural obstacles that these female athletes encounter, ranging from a lack of resources and funding to the lack of support from society, while also spotlighting their resistance, joy, and relentless fight for change. Through moments of vulnerability, pride, and solidarity, Still In Play askes audiences to rethink what it means to belong in sport, and asks: what would rugby—and the sports—look like if women weren’t just allowed to play, but were truly backed to win. 

Director/Producer: Letlotlo Tshepiso Mogale, Mphatso Nkhoma

After school | Film School Afrika

Synopsis: In a Cape Flats township school, one new girl’s arrival turns an ordinary day into an explosion of violence.

Director/Producer: Yamkela Bhokhwana, Sive Mbamatye

Little Lion | Film School Afrika

Synopsis: A boy lives with courage when faced with day to day challenges within his township community. He dreams of getting the bad guys, but one lives at home.

Director/Producer: Sive Mbamatye & Yamkela Bhokhwana, Mpho Makele

Before they sold the sky | UCT

Synopsis: Told in a poetic and biographical style, Before They Sold the Sky tells the story of Kai Reynolds’ familial history in Cape Town. The crew go back to the physical places where his grandparents and great-grandparents had lived: District Six and Walmer Estate. To attach stories and memories to physical places and understand what has been lost. The documentary is also a close look at Cape Town itself and how its sparkly and lively image holds a lot more if you take the time to sit and live in it.

Director/Producer: Kai Reynolds, Mihle Moss

No place like home | Kiddzpas Film Studio

Synopsis: Dr. Patience Ngesi is a respected doctor at a prestigious hospital, but when her declining mental health forces her into forced leave, she must confront the past she has spent her entire life suppressing. As a child, Patience lived in extreme poverty with her mentally ill mother, scavenging from trash bins outside a rural hospital in the 1970s. When a compassionate Hospital Superintendent, Dr. Mehana, sees her suffering, he persuades her to come with him, offering her a permanent place in the children’s ward. However, while she gains shelter, food, and education, she also faces severe bullying at school, where classmates mock her for being an orphan and her mother’s illness. Years later, Patience is an accomplished doctor when a traumatic event—seeing one of her childhood bullies return to the hospital as a homeless patient—triggers long-buried pain. Soon after, she begins suffering from PTSD, depression, and memory loss, leading the hospital board to force her to take leave. In therapy, she undergoes hypnosis, where she relives key moments from her past: her mother’s attempts to take her back, the torment she faced at school, and the loss of identity she experienced growing up in a hospital instead of a home. Through the help of her psychologist, she realizes that home is not a place—it is where you feel love, safety, and belonging. As Patience leaves her session, the psychologist reassures her with the words, “No place like home”.

Director/Producer: Hluma Luzipo, Nomaxabiso Mahlawe

The Boer & The Bride | AFDA

Synopsis: The Boer & The Bride is a heartfelt romantic comedy that explores the complexities of interracial love in contemporary South Africa. After a perfect proposal, Masego must navigate the emotional terrain of introducing Andre to her traditional Tswana family. What begins as a celebration quickly spirals into a clash of customs, misunderstandings, and generational pain; especially when her uncle, Malome, confronts the cultural implications of their union. Themes: – Cultural identity and tradition – Interracial relationships – Family, reconciliation, and generational trauma – Humor as a tool for healing.

Director/Producer: Andre Smith & Tristan Sharp / Philasande Kimberly Mvubu, Mogaugelwa Moremi & Yonelisa Jacobs

Siren’s Call | AFDA

Synopsis: Kaia wakes up next to a lonely fisherman named Marlon, who is deeply in love with her but has no memory of her past. She discovers a haunting call and erratic man named Jakob, who could lead her to the ocean. Kaia learns that Marlon is keeping her for his own gain and tries to escape. A confrontation on the shore shows Marlon wanted to be loved but believed he deserved it for saving her. Kaia refutes this, stating that Marlon abducted her home is at sea. 

Director/Producer: Takunda Aaron Chimutashu (Zen ISA) & Alex Ross / Tumelo Ewe Ramaphakela & Bayanda Kamusa Xulu & Hlawulane Phila Hlangwane

F*Slur | AFDA

Synopsis:  After a shitty (like … literally) viral onstage disaster tanks his drag career, Dylan Petersen, better known as Shenequa van de Vetkoek (or shall we say: VetPoep) is left humiliated, stripped of confidence, and ghosted by the spotlight. When signups open for the national Mzansi Megastarz competition, he grabs for a shot at redemption: a 30-second performance to prove he’s still worth watching. With his best friend and choreographer Jada at his side, Dylan throws himself into bruising rehearsals and brutal self-reflection. But the comeback grind gets messy fast with fierce rivals like Luna Khumalo, mounting pressure, and a violent reminder of past failures threaten to drag him back under. F*Slur is a sharp, funny, and unapologetically queer story about shame, resilience, and finding power in the spotlight that once broke you.  

Director/Producer: Ethan Bob McKay & Samukelo Sithole / Danielle Bezuidenhout

Tomorrow is too far | AFDA

Synopsis: Set in Cape Town, Tomorrow Is Too Far is a gritty, emotionally-charged short film that follows four slaughterhouse workers, Lucky, Cowboy, Sprite, and Hope, as they plan what’s supposed to be a carefree night out. But beneath the surface of their bravado and dreams of escape, lies a dangerous secret. Lucky, torn between loyalty and conscience, grows uneasy as Cowboy brings Hope, a spirited young woman unaware of the group’s darker intentions, into their plan. What begins as a quick detour turns deadly when a robbery at a mansion spirals out of control. Gunshots, betrayal, and panic follow as the group flees the scene, only to be summoned to a remote location by Cowboy’s enigmatic “business partner,” Menner Eugene. In a brutal twist, Menner delivers swift and merciless judgment. One by one, the young men fall, leaving Hope, bloodied and traumatized, as the lone survivor. As dawn breaks, she walks away from the massacre, a witness to the cost of youthful desperation and violence. 

Director/Producer: Mihlali Ndlaleni & Robert Williams / Alia Khan Komantarakis

The Legend of The Jack-o Lantern | The Animation School

Synopsis: Jack is an eccentric undertaker who lives alone in his cathedral. His unfortunate hobby is scaring the mourners of his graveyard with horrifying masks. He’s very proud of his work and morbid creativity. One day Jack dons his pumpkin mask and pranks an old man crouched behind a gravestone. This man is someone he never should have pranked. As punishment for his insolence, he is cursed, and the mask binds itself to his face. As he struggles, the man gleams potential within Jack and makes him a grand offer.

Director/Producer: Aidan Pansegrouw

Inyembezi Zendoda | UCT

Synopsis: Lwando Dlamini (33), a young Black Xhosa visual artist from Philippi, confronts the pressures of masculinity while developing a new body of work at the Peter Clarke Art Centre. Haunted by the belief that “indoda ayikhali” (a man does not cry), he struggles to express vulnerability, particularly toward his mother. Through conversations with his friend and hip-hop collaborator, Nande “Dla”, and the process of painting, Lwando begins to challenge inherited ideas of manhood. As his art becomes a form of emotional release, he discovers that vulnerability can be a path toward healing.

Director/Producer: Mandlakazi Zilwa, Liani Maasdorp

The post One City. A Thousand Stories. A New Generation. appeared first on Film Cape Town.

From her first day on set as a production assistant to producing films that travel the world, Khosie Dali’s journey is a testament to the power of persistence, relationships and the stories we choose to tell. In this week’s Film Cape Town Q&A, she reflects on the people and experiences that have shaped her career, the importance of telling African stories, and her vision for creating films that inspire audiences to dream beyond their circumstances.

Q. If you could go back and watch the moment you first stepped onto a set, what do you think that version of you would say about where you are today?

If you could go back and watch the moment you first stepped onto a set, what do you think that version of you would say about where you are today? I remember that moment as if it were yesterday. The set was at the Kimberley Hotel, on Roeland Street (a street I only heard about from the Monopoly board game) and I had absolutely no idea what I was going to do, as a “PA”. By the time I arrived, I had already had a dramatic morning where I was involved in a smash-and-grab incident, but I decided it wasn’t going to ruin my day. I was excited and nervous at the same time, not knowing what to expect. The set was busy and bustling, with dark lighting, cables, props, costumes everywhere and all the furniture rearranged. Everyone was on a mission, knowing what to do and where to go. The costume stylist saw that I was looking around, a bit lost and asked if I was an extra. I just said yes but I mentioned the name of the producer I had come to meet. I went in there for an interview, but that day ended up being my first day on my career. I think that version of me wouldn’t believe that I’m now a producer, managing crews and travelling around the world to film labs and festivals. She’d probably be thinking, “Wow, that lady looks so cool. How is she so confident and how does she know all these people?” She probably wouldn’t believe that some of the same people I met that day became friends, or that I would still know so many of them today. She’d be very proud to see how far we’ve come 

Q.What’s something about working in film and television that you didn’t understand until you experienced it for yourself?

Oh, I think there’s so much, and it’s so hard to answer because back then there was so much I didn’t know, and didn’t even think about. The family/community aspect is something I always find interesting. We spend 12 hours a day with people go through stressful situations together, solve impossible dreams together, celebrate together, and those relationships stay with you. It’s also how filmmaking is actually about people management. Yes producing is about schedules, budgets and logistics but ultimately as a good producer you are managing personalities, emotions, egos, hopes, fears and relationships.

Q. As a producer, is there a story or project you’ve worked on that stayed with you long after production wrapped, and what made it particularly meaningful to you?

Four Corners, directed by Ian Gabriel, definitely stays with me. I was given such an incredible opportunity to learn on that film, because I was involved in the development, preparation and production. I got to experience so many different parts of making a feature. I really enjoyed working with the actors; the young kids, the very experienced cast, the reformed gangsters and even real gangsters. I watched people from the casting process, through rehearsals and then onto set, and it was fascinating to see how everything came together. I also made a lot of meaningful relationships on that job, and I’m still in touch with so many people from the film today. One of the actors was also on my very first feature I produced, and because he knew me from back then he did not even hesitate on jumping on board to be with us. I think that’s some of the things that has stayed with me most; what I learnt about filmmaking, and the people I met along the way.

Q. Producing often means balancing creative ambition with practical realities. How do you protect the creative vision of a project while navigating budgets, schedules and the demands of production?

This one is incredibly tricky, wanting to have your cake and still eat it! I think my biggest strength when it comes to that is my negotiation skills, finding ways to convince people to come on board and actually be excited to do so. The power of forming meaningful relationships always goes a long way. It’s also about knowing that you don’t have to say no to everything. Sometimes you have to find different ways to make sure things happen, while still being realistic about the budget, the schedule and what is possible.

Q. When you’re deciding whether to take on a project, what are the things that make you say, “This is a story worth telling”?

Right now, it’s about the energy that I get from the person approaching me with the story. Their enthusiasm for it, how much work or thought they’ve put into the project, and whether it feels like it could be someone I wouldn’t mind spending a lot of time with, because making a film is a long process. When it comes to the story, I think about: Does it move me? Can I relate to it? If not personally, am I learning something new? Does it say something about the world? Do I “get it” without having to listen to or read it many times? Is there a strong message within it? And, importantly, would I still care about this story after two years of development? Right now, I’m drawn to stories that make me feel something and make me curious about the world or the people in it. I’m interested in stories about Black people and African experiences, whether that’s through history, contemporary life, culture, music, sport, love or the things we dream about. Stories that allow us to see ourselves differently and celebrate where we come from and what we’re capable of.

Q. What do you think makes a strong producer beyond the logistics of getting a project made, and which qualities have become most important to you throughout your career?

A strong producer is someone who has resilience, who can keep going even when facing rejection, challenges and adversity. Someone who’s able to find a good balance between their personal feelings and getting things done. It does get tough and super lonely at times, so one has to find communities to keep their sanity in check. A lot of us experience burnout as well, so it’s also about recognising the importance of having a balance in life and finding your own healthy ways to release and reset. I think you can be very passionate about the work and still recognise that you are a person outside of the work.

Q. Film sets can be intense, unpredictable and often a little chaotic, what’s the most unexpected thing that’s happened to you on set? 

Yeah! So many things happen. There have been times when we’ve arrived on set and the production design is not at all what was discussed through numerous meetings and verification checks. The clients are about to arrive, the crew and cast are ready, and suddenly you have to get the whole crew involved in a solution attack and figure out how to make it work. But a beautiful and completely unexpected thing that I really loved recently,was being on set when we had a herd of elephants in the bushes come into frame as if they were paid background, at exactly the perfect time. That was so magical. Evryone on set went deadstill, so as to not ruin the moment. You can plan so much on a film set, but you can’t plan for something like that

Q. Cape Town has played everything from small-town streets to international cities on screen, if you could transform one Cape Town location into the setting of your dream film, where would you choose?

The townships, man. If I had to pick one, I’d say Khayelitsha. It’s so vibrant and full of energy. It’s the streets, the people, the movement, the contrast between hardship and joy, and the sense of community. I’d make a coming-of-age fantastical film set there, where young people can see themselves and see possibilities beyond their dreams. I’d love to show a side of Khayelitsha that feels magical and full of possibility, while still being rooted in the reality of the place. And actually, one of the things I’m enjoying about working on Street Surfer, (feature film in development) is that we’re looking at Cape Town in a completely different way. We’ll recreate the 1990s through locations around Woodstock and Sea Point. There’s something exciting about using places we know so well and making audiences see them as another time and another world. That’s one of the things I love about film, that we can transform a place without changing the place itself

Q. What’s one thing you wish audiences understood about what happens behind the scenes of making a film or series?

Just how much work goes into making something look so effortless. At the same time, I think the audience’s job is to just enjoy the film without thinking too much about everything that went into making it. As filmmakers, when we watch a film, we’re thinking about the locations, the costumes, the acting, the lighting, the production design, all with a critical eye. There can be so much happening behind one simple moment on screen, and the audience doesn’t necessarily need to know any of that. If they’re completely absorbed in the story, then we’ve done our job

Q. South African stories are travelling further than ever what kind of local story do you think the world is still waiting to discover?

As I mentioned briefly, I think it’s a story where Black kids are allowed to escape and dream their way out of poverty or difficult circumstances. A film where they can see themselves as the powerful human beings they are. I’d love to see stories where they can imagine, be magical, be funny, flawed and adventurous, without poverty being the entire story. Stories where they can dream freely, see possibilities beyond their circumstances and imagine a future that is bigger than what they currently see around them.

Q. If you had unlimited creative freedom, no budget, no schedule and no rule, what kind of film or series would you make?

Stories of love, hope and fantasy, where the sets feel like dreams and storybooks. If there were genuinely no budget and no rules, I’d want to create completely impossible worlds — enormous sets, fantastical cities, places that don’t exist, worlds that feel like you’ve stepped inside a dream. I’d love to make the kind of films where you can imagine anything. Maybe even an anthology series where every episode creates a completely different world, like Black Mirror, but with the freedom to go completely wild with the visual world-building. One story could take place in a futuristic African city, another in a magical world, another somewhere completely outside anything we recognise. I’d want to create films that make people say, “How did they even make this?” and then get completely lost in the world. I think there’s something really special about films that allow you to dream — and if there were no budget, I’d want to take that as far as humanly possible.

Q. When you look at the next chapter of your career, what’s the one thing you’d love to do that would make you think, “Okay, I’ve really done it”? 

I’d love to have a bigger slate of films, create opportunities for young filmmakers and continue making work that genuinely affects people’s lives. I’m also interested in finding ways for film to have a much bigger impact in Black communities beyond just watching the film. I want to bring more African cinema into communities, create spaces where people can experience and engage with our stories, and help grow audiences for African films. I want to build an ecosystem around the work that creates opportunities, develops people, grows audiences and can sustain my career as well as the careers of the people working alongside me. I think that would make me feel like I’ve really built something, something that can continue beyond any one project

The post Telling African stories that inspire with Khosie Dali appeared first on Film Cape Town.

What first sparked your interest in acting, and what made you pursue it professionally?

My journey into entertainment actually started through modelling in 2016, and that experience opened my eyes to the world of performance. I realised that what attracted me wasn’t only being in front of a camera, but the ability to communicate something through presence, emotion and storytelling.

Acting became the natural next step for me because I wanted to go beyond simply being seen and actually have something to say through the characters I played. My acting debut was in Poppie Nongena, alongside incredible performers like Clementine Mosimane and Nomsa Nene, and that experience showed me very early on what it means to take the craft seriously.

Since then, I’ve approached acting as a craft that requires constant learning. Every character, every director and every production has taught me something different, and that’s what continues to make the journey exciting for me.

Looking at your career so far, how would you describe your growth as an actor? Are there particular moments or roles that you feel changed the way you approach your craft?

I think my biggest growth has been learning to trust myself more as an actor. When I started, there was naturally a lot of self-consciousness you know, wanting to make sure I was doing everything correctly. As I’ve gained experience, I’ve realised that sometimes the most powerful performance comes from being present and allowing yourself to actually live in the moment.

Poppie Nongena was a very important starting point for me because I was surrounded by actors with so much experience. Being part of that production taught me about discipline and about respecting the story you’re part of.

Donkerbos was another important step because it allowed me to work within a darker, more complex world. The series moves between English, Afrikaans and Venda, and being part of a production like that expanded my understanding of how language and culture can influence storytelling.

Then Kelders van Geheime brought another kind of growth. Athandwa is a character I connected with personally, so I had to learn how to use parts of myself without simply playing myself. That has made me much more conscious of the difference between identifying with a character and actually creating a character.

You’ve worked across television, film and different genres. How do you approach preparing for a new character, especially when the role is very different from anything you’ve played before?

I start with the person before I start with the performance. I want to understand who this person is, where they come from, what they want, what they fear and what has happened to them before the audience meets them.

I also spend a lot of time thinking about the character’s circumstances. What is their environment? How do they speak? How do they carry themselves? How do they respond when they’re under pressure?

The more different the character is from me, the more curious I become. I don’t want to judge the character from the outside. I want to understand their logic, even if I don’t agree with their choices.

And then there comes a point where you have to stop thinking and trust the preparation. For me, that’s when the character starts becoming alive.

What has been one of the most challenging characters you’ve had to portray, and what did that experience teach you about yourself as an actor?

Athandwa in Kelders van Geheime has definitely been one of the most meaningful challenges for me.

What made him challenging wasn’t necessarily that he was completely different from me. In fact, it was the opposite. Athandwa and I share similarities in terms of coming from humble beginnings and wanting to make something of ourselves. He is also someone who remains grounded when the people around him become emotional.

His story also carries a lot of emotional weight, particularly the loss of his mother and everything that happens around his family. I had to understand how someone carries that kind of pain while still choosing to move forward.

That experience taught me that sometimes you don’t have to manufacture emotion. You have to understand the character deeply enough that the emotion comes from the circumstances. It made me trust subtlety more and reminded me that strength in a character doesn’t always have to be loud.

You’ve worked on Afrikaans-language productions, including Kelders van Geheime. What has that experience been like from an acting perspective, and has working in another language influenced the way you approach a character or performance?

It’s been a really valuable part of my development.

I’ve worked in Afrikaans productions before, so Kelders van Geheime wasn’t my first experience in that world. I also understand and speak some Afrikaans, which helped me navigate the environment.

But working in another language still makes you more conscious of your performance. You become very aware of pronunciation, rhythm, intention and the way a character communicates beyond just the words they’re saying.

What I really appreciated about Kelders van Geheime was the opportunity to learn about a different cultural environment and even things like life on a farm. It reminded me that acting is also an opportunity to step outside of your own experience and understand how other people live.

I think working across languages has ultimately made me more attentive as an actor. I listen more carefully, and I think more about what exists underneath the dialogue.

Acting often requires you to find something personal in a character while still creating someone completely different from yourself. How do you find that balance when building a role?

I think the key is finding the emotion rather than copying the circumstances.

A character might have a completely different life from mine, but they can still experience things that I understand love, ambition, fear, disappointment, family, loss or the desire to be accepted.

That’s where I find the connection.

Once I’ve found that emotional truth, I can then build the things that make the character different from me, their background, their mannerisms, their circumstances, their way of speaking and the choices they make.

Athandwa was a good example of that because there are elements of his story that feel familiar to me, but he is still his own person. I don’t want the audience to see Aphiwe pretending to be Athandwa. I want them to meet Athandwa.

What have you learned from working with different directors, actors and crews throughout your career? Has there been a particular person or experience on set that had a lasting impact on you?

I’ve learned that filmmaking and television are collaborative art forms. You can prepare as much as you want as an actor, but you’re still part of a much bigger machine, and you have to respect every person contributing to the final picture.

One of the biggest lessons has been learning to listen. Sometimes a director will give you one small adjustment that completely changes the scene. Sometimes another actor gives you something unexpected and you have to respond to it rather than sticking rigidly to what you planned.

My first production, Poppie Nongena, was particularly significant because I was working alongside people like Nomsa Nene and Clementine Mosimane so early in my acting journey.

More recently, working with Mbulelo Grootboom and Aviwe Ngabom on Kelders van Geheime reminded me how important genuine relationships are between actors. Aviwe and I developed that brotherly connection very naturally, and it made the work feel truthful.

The South African screen industry is constantly evolving, with more locally produced stories reaching different audiences. What excites you most about the opportunities available to South African actors today?

What excites me most is that we have so many stories that haven’t been fully explored yet.

South Africa is incredibly diverse. We have different languages, cultures, communities and histories, and I think there is enormous potential in telling those stories in ways that feel authentic while still reaching audiences beyond our borders.

I’ve experienced that personally through productions that move between different languages and cultural environments. Donkerbos, for example, combines English, Afrikaans and Venda, while Kelders van Geheime has given me the opportunity to work in an Afrikaans-language production as a Xhosa actor.

I think the exciting thing is that South African actors don’t have to limit themselves to one kind of story or one kind of audience. We can tell local stories with a global ambition.

For me, the goal is to keep growing while representing where I come from authentically.

Cape Town has been an important backdrop for so many South African productions. What has working in the city and being part of its film and television industry meant for your career?

Cape Town is home for me, so being able to build a career here is something I don’t take for granted.

I was born and raised in Khayelitsha, and Cape Town has shaped a huge part of who I am.

There is something special about being able to work in an industry that is happening in the same city that raised you. You see different communities, landscapes and cultures around you every day, and all of that becomes part of your understanding as a storyteller.

Cape Town has also shown me that you don’t have to come from the traditional centres of the entertainment industry to build something meaningful. You can come from a township, have a very specific story and background, and still find your place on screen.

For me, Cape Town isn’t just a location where I work. It’s part of my identity, and I think that naturally comes through in the stories and characters I choose.

When you look at the next chapter of your career, what kind of roles or stories would you love to take on that would push you creatively and show audiences another side of Aphiwe Sithole?

I’d love to take on roles that people wouldn’t immediately expect from me.

I want to explore characters that are psychologically complex and emotionally demanding, characters where the audience might not immediately know what they’re thinking or what they’re going to do next.

I’d also love to explore more genres. Drama has given me a strong foundation, but I’d be interested in challenging myself with more action, psychological thrillers, crime, comedy and even international productions.

Ultimately, I don’t want to be defined by one character or one type of role. I want to have a career where, years from now, people can look back and see a real range.

I’m also interested in stories that say something about who we are as South Africans and Africans, but without feeling like I’m trying to prove anything. I want the story to come first.

The next chapter for me is really about expansion as an actor, as a storyteller and as a creative. I want to keep surprising people, including myself.

The post For Aphiwe Sithole, every role is a chance to learn appeared first on Film Cape Town.

Cape Town’s filmmaking talent will take centre stage at the fourth edition of the FAME Shorts Film Festival, with 9 short films from Cape Town forming part of a programme of 36 films from around the world. 

The FAME Shorts Film Festival celebrates diverse voices and perspectives through a programme of films spanning a range of genres and themes, including cultural heritage, modern life, diasporic identity, historical events and pressing socio-political issues. The festival also shines a spotlight on personal stories and biographies. 

Taking place from 28 to 30 October, FAME Shorts Film Festival will offer a variety of events and experiences for filmmakers and festivalgoers to enjoy. As part of FAME Week Africa, the festival will also feature content sessions, workshops and masterclasses presented by industry professionals. 

Lerato Bokako, Artistic & Programming Director of FAME Shorts Film Festival, said: “I’m very excited to be going into my second year as festival director for the FAME Shorts Film Festival. The films this year had us feeling inspired and excited about all the talented filmmakers that the festival keeps attracting each year. This is our first year falling on a halloween weekend so excited to be showcasing some spooky, surrealist shorts. We’re travelling the world through these films, championing filmmakers of colour from Somalia to Brazil and many places in between! This year the festival will be closing out with APART, an animated short film directed by Pola Maneli, written by Spike Lee with music by Black Coffee” 

FAME Shorts Film Festival screenings will take place at The Rockefeller Hotel in Cape Town, with tickets available via Quicket, starting at R75. 

Films set in Cape Town 

Dread 

Klop Klop  

Queezy Visits the Races  

Amigo the Griot   

Films by filmmakers based in Cape Town 

Colour of Dreams 

Talking to Family  

Aasvoëls (Vultures) 

The Man, the Cliff, the dog 

 Poppy on a Hill 

The post 9 Cape Town short films to be showcased at FAME Shorts Film Festival  appeared first on Film Cape Town.

Q. You’ve built a career spanning more than 20 years across film, television and radio, looking back, what first drew you to the production side of the industry, and how has your journey shaped the producer you are today?

I was drawn to production by a long-held ambition to become a Producer. I came to believe that Producers are the ones who conjure and give shape to the blank canvas — the platform on which creatives can build and realise their visions. Without a Producer, there is no film, no show; the work simply does not exist.

As a youngster, my first real passion was team sport. The particular game mattered less than the participation itself — I threw myself into whatever was on offer, and thrived. For a long time I assumed the joy lay in the sport. In time, I came to understand it was the dynamics of a team that I loved and excelled in. I was a natural leader, more often than not the captain, if not the one calling the shots, and I had an instinct for what made a team better — and I knew that better teams won more games.

My journey in the industry began humbly, as a runner and then a Production Assistant on commercials in Johannesburg. To be a PA was to be woven into the fabric of the production team, supporting every department as needed. From there, the natural arc of progression beckoned: Production Coordinator, then Production Manager, and onward toward Line Producing, with Producing itself on the horizon. I was fortunate, early on, to land full-time work as a PA at a production company specialising in music video production and, later, twenty-four-hour music television broadcasting. Because we were a small, tightly knit team, this proved fertile ground for growth — I rose to Coordinator and frequently found myself filling the shoes of Production Manager, and at times Producer. The channel’s sheer range of formats meant we absorbed invaluable, wide-ranging skills in bringing its many shows to life.

The next chapter took me into the world of television drama as a freelancer, where I broadened my repertoire to include Assistant Directing. The AD occupies a singular position on any set — the bridge between the floor and the production office. It is a role of constant balance: weighing the creative ambitions of a show against a schedule that is, in turn, governed by budget. The AD solves for time and money, commands the team on the floor, and works to draw the creative vision out of the technical machinery, all while keeping the lines of communication with production open and alive.

That experience as an AD has shaped, more than anything else, the Producer I am today — teaching me to respect the creative work enough to protect it and make room for it, even as I hold the line on schedule and, crucially, budget. But above all, it taught me that filmmaking is a team sport: the product of an entire collective of people working in concert to tell a single, unified story. The best outcomes come from respecting the humans doing the work, and from building spaces where every one of them has an equal chance to thrive. That, to me, is the finest expression of what a Producer does — beyond the pitching, the fundraising, and the business responsibilities that sit behind every film, television show, production company, and the partners who make it all possible.

Q. You’ve worked across a remarkably diverse range of productions, from Suidooster and Blood & Water to feature films such as Nommer 37 and Indemnity. What have some of these very different projects taught you about producing and managing successful productions?

Diversity is a powerful force in every arena of life. It deepens and broadens our experience, and enriches the very fabric of living. This has proven equally true across my professional journey. For me, it begins with one’s own life in general — the more colourful and varied that journey has been, the more one has to offer any given situation. Both the good experiences and the hard ones shape us, and each leaves its mark on the daily reality we engage with.

As a Producer, you soon learn that opportunity determines the kind of story you get to tell at any given moment. We all carry a story we long to tell, and whatever the obstacles, we will find a way to pursue that particular, personal story — a passion project, in essence. And yet most projects are born from an altogether different set of places and circumstances, ones over which we have little control. The ability to pivot towards opportunity matters just as much as having a story to tell, particularly when running a business with obligations within the creative industries. One has to remain open to recognising such opportunities in order to build something sustainable. Unless a project is self-funded, there are always other interests to weigh — the needs of financiers, or of a partner such as a streamer, broadcaster, or commercial entity in pursuit of return on investment.

Much of this, too, is shaped by the audience and by the zeitgeist of the moment. Perhaps the greatest challenge is pitching or selling an idea within today’s mindset, all the while knowing that the time our craft takes to reach the market means it will ultimately land in a moment we can only speculate about. Predicting that moment is something of a holy grail — the entire industry spends a great deal of time deliberating over it, and it is often here that opportunity is truly shaped. Sometimes you find yourself with the right story at the right time; sometimes you don’t. But every story has its moment, and we have seen ideas shelved for years only to return to great success.

One of the great lessons drawn from the diversity of projects we have produced is the importance of developing within the guardrails of each individual format — creatively and financially alike — and of building shooting models that allow the creative vision to be realised without compromising the budget. But the deepest learning, above all, has come from growing the company itself, and from the particular difficulties of sustaining a production company within the context of the South African industry: understanding how different types of projects affect the business model as a whole, and learning to navigate accordingly.

Q. As COO and Executive Producer at Gambit Films, you’re involved in both the creative and operational sides of the company. What does your role look like behind the scenes, and how do you balance the creative ambitions of a project with the practical realities of production?

As COO and Executive Producer at Gambit Films, my role touches every facet of the company — from the organisation’s growth to its capacity to deliver film and television sustainably and at the highest level, consistently. Behind the scenes, this means developing the workflows and models that uphold storytelling as our fundamental strength. With internal teams spanning development, production, and post, Gambit Films is, at any given moment, invariably present across every phase of film and television production simultaneously. Managing the teams and processes across that spectrum demands a commitment to best practice in communication, integrity, accountability, and inclusion.

Having robust systems in place allows us to replicate quality creative work, even as each project differs vastly from the last. At its core, filmmaking remains consistent in its mechanics. By vertically integrating our internal team into each of our productions, we achieve consistency across titles even where different production teams are assigned to each one. A creative bible helps establish a given title’s creative aspirations and gives the whole team a reference point from which to orient themselves to the vision — a discipline that serves creative continuity across every phase of production, and helps the vision immerse and converge across departments. The same principle holds for building workflows, both internally and for each title in turn.

Over time, the lessons learned have proven invaluable for consistency, capacity, and growth, as well as for balancing creative intent against the constraints of schedule and budget. With that experience, it becomes ever easier to spot opportunities for elevated production value wherever they arise.

Q. What makes a location like Cape Town attractive when you’re considering where to develop and produce a project?

First and foremost, Cape Town is home. It is where our stories originate, and if we are to tell authentic stories in our own voice — stories we have the authority to tell — then this is the home from which we speak.

Secondly, it is no secret that Cape Town is a phenomenal city in which to film almost anything, for a great many reasons. It is one of the most beautiful locations on earth, and nature offers a bountiful basket of backdrops for any story imaginable. The rare combination of ocean, mountain, desert, and both urban and rural landscape opens up a multitude of possibilities. Within the urban world alone, one finds every register of architecture, texture, and mood — from the hugely affluent to the intensely gritty. The townships and the Cape Flats add still further to this wealth of possibility, even before the story itself has been decided upon.

Furthermore, we find ourselves in an era of the industry in which home-ground advantage carries real currency, both in raising finance and in landing commissioned work. An authentic voice in the telling of a story is, in itself, valuable currency. Gambit Films is built by local people — people with a genuine passion for this city — and we take great pride in being trusted custodians of its stories.

Q. From your experience, what do you think the city offers filmmakers that can’t necessarily be replicated elsewhere?

I believe the city offers filmmakers a great deal, and much of it is bound up with our identity as South Africans more broadly, not only as residents of the Western Cape or Cape Town. I mean, by this, our characters and our cultures — we are a nation with a great deal to offer the world of storytelling: an abundance of extraordinary, at times unbelievable, and thoroughly unique realities that lend texture and nuance to our stories.

More practically, the specific offerings of Cape Town as an industry hub are unmatched on the continent, if not in the country as a whole. A long legacy of service work has given us access to world-class service providers, equipment, and studios, along with raw talent trained on some of the largest productions in the world. The local industry offers filmmakers almost every piece of hardware, software, and human ingenuity available anywhere on the globe, and the City itself provides remarkable support in helping us realise our creative ambitions. Combine all of this with a great script and a great team, and remarkable things become possible — as we at Gambit Films have experienced time and again.

Q. What are some of the logistical or production advantages of filming in the city that audiences may not see on screen?

As mentioned above, it is the sheer abundance of services and skills across Cape Town’s ecosystem that sets it apart. A deep pool of talent, capable of filling the many roles and services required to make a film or television series, gives filmmakers here the support they need, regardless of a production’s scale or scope. There is no blueprint for making a film — each one is different — and living in a city like Cape Town means being able to find the right partner for any given project, whether that is gear rental, SFX or VFX vendors, or studio facilities. The options are there.

Just as vital is having a city film office that understands the full breadth of creative possibility any project might hold, and is willing to do the near-impossible to help make it happen. Nor is there any shortage of creative talent in the city — from writers and directors to production designers and wardrobe stylists, Cape Town has so much to offer in the way stories are told. It is a community, and this, above all, is a team sport.

Q. What impact does bringing larger productions to Cape Town have on the local industry, particularly in terms of skills development, employment and opportunities for local crew?

For all the factors that make Cape Town a wonderful place to film, as a local industry, the service sector has thrived alongside it in equal measure. The legacy of skills development, employment, and opportunity it has generated has been extraordinary, and directly advantageous both to the city at large and to the film industry in particular. For local crews, exposure to the skills demanded by international productions has sharpened their own craft and aligned it with current best practice, improving their prospects for future employment in turn. The real benefit, though, lies in bringing these same skills to bear on local productions.

Across the full life cycle, the ideal outcome is greater investment in locally produced films, alongside an environment that remains welcoming to servicing larger productions here at home. Together, these would translate into further employment and greater opportunity across the industry.

Q. Cape Town is known internationally for its locations, but what do you think are some of the less obvious strengths that make the city an attractive production hub?

As mentioned above, there is truly no end to the list of things that make this city so attractive as a production hub. For us as a production company, Cape Town delivers world-class solutions to every phase of our business model. Beyond the locations and the obvious advantages it holds for any moving-picture creative enterprise, the technological backbone supporting the local post-production ecosystem is both world-class and fully operational. Together with our partners in the city, we deliver globally successful content reliably and consistently. It is this combination of cutting-edge digital technology and raw talent that has been key to our ability to tell our stories shoulder to shoulder with our peers around the world.

Q. Where do you see the biggest opportunities for Cape Town and South Africa to attract and develop more productions over the next few years?

Amid a global scaling-down of resources for filmmakers everywhere, the industry is searching for ways to create great content on smaller budgets. At the same time, the rise of global streaming has cultivated a worldwide audience hungry for more great, authentic content. Between these two forces lies opportunity for producers, local and international alike.

Where the journey from major-budget productions down to dramatically reduced numbers remains all but impossible for those accustomed to those big budgets, the ability of local producers to deliver strong production value opens up a far greater range of possibilities as the budget ceiling moves upward. In short, it is a much longer road for a major studio to travel from a huge blockbuster budget down to a modest one than it is for a local producer, already accustomed to delivering on-par content at that modest level, to make use of the additional bandwidth afforded by a meaningful uplift into a somewhat larger landscape.

These are precisely the kinds of opportunities awaiting the local industry in the years ahead — opportunities that create employment as well as the chance to operate at a level more in step with our peers globally. The growing appetite for more grounded content and authentic narratives and genres opens up further opportunity still, as this convergence of forces aligns remarkably well with our current positioning here at home.

Q. Looking ahead, what kinds of stories or projects would you love to bring to Cape Town, and what would you like to see the city become known for on the global production stage?

The excellence of our storytelling as a nation, as a people, is essential to our identity and matters enormously to who we are. As a city, a country, and a continent, we take pride in the articulation of our experiences and the expression of our art — in the cultural impact we have on humanity, and on ourselves as individuals. I am because we are.

Through the making of films, the telling of our stories, and our partnerships with platforms around the world to reach audiences, I would like to see this city recognised for its contribution to, and support of, this industry. To that end, the team at Gambit Films looks forward to the opportunity to tell many more stories, across both film and television.

The post Benjamin Overmeyer on Gambit Films, Cape Town and storytelling appeared first on Film Cape Town.

Q. Looking back at your journey so far, what first drew you to acting, and when did you realise this was something you wanted to pursue professionally? 

I’ve always been a natural performer. I used to love impersonating people and tv characters as a child! Later in my high school career, I joined a performing arts school where my love and passion for performance grew. It was just the natural next step to pursue acting professionally. 

Q. Your roles have allowed you to explore very different characters and worlds, what do you look for in a character or project that makes you want to be part of it? 

I absolutely love being versatile. I am always curious about what it’s like to be in somebody else’s shoes, so I always kind of look for what a character wants, needs and where their power lies. Figuring out their ‘why’ somehow automatically draws me to them. Even if I don’t necessarily agree or fully understand the character – I enjoy a challenge! 

Q. You feature in Spinners, a series that has reached audiences both locally and internationally, what was it about the project and your character that excited you when you first came on board? 

Definitely the spinning! It was unlike any other brief I’ve ever received in my career so far. It hit close to home, because Spinning is and has always been a big thing in Kraaifontein. Amber and I are also worlds apart. I enjoy exploring characters that I have absolutely nothing in common with. 

Q. Was there anything about the production or the character that challenged you in a way you didn’t expect? 

Performing some of the stunts were definitely challenging. I am quite the perfectionist, so when I do partake in something, I want to do it right. Nothing prepares you for your first time getting behind the wheel to spin when you’re an anxious driver! However, we had the best spinning coaches and stunt teams who guided me and always made me feel safe and secure. 

Q. Is there a particular role or project you’ve worked on that has changed the way you approach your craft or helped you grow as an actor? 

Every project I work on teaches me something new. I always approach every new character/project with the intention the learn. To be stretched, challenged and as vulnerable as I can be. Something I realise every time I’m on the set of Spinners is that I am but a small part of a very big machine. 

Q. How do you balance bringing your own experiences and personality to a character while still fully stepping into someone else’s world? 

I believe that the characters I portray shouldn’t have anything to do with me, so when I do bring personal experiences or personality – I keep that in mind. I am very bubbly and always joking around, and yet I’ve always played characters who are either way younger than me, or the complete opposite of who I am. I am grateful for that because I prefer it that way! 

Q. What is something about the acting profession that you wish you had known when you were starting out? 

The long hours and what we call “hurry up and wait.” I fantasised about the industry in the ways that I’ve seen it on tv: Plenty of time on set, months in advance to properly train and prepare for a character. I quickly realised that the South African performing arts industry is way different from Hollywood! 

Q. Is there a particular role or type of character you hope to play at some point in your career? 

I would love to play a villain in a period film hopefully when I look a little older in my thirties! 

Q. What’s something you’ve learned about yourself through your journey that you didn’t expect? 

I am truly unstoppable. When I was starting out, I’d shy away from a lot of things due to fear. I’ve learnt over time that nothing will happen for me if I constantly get in my own way. Now I walk into every casting with confidence and certainty. 

Q. Looking ahead, are there particular kinds of characters, genres or stories you’re hoping to explore next in your career? 

I’ve done two films this year for the very first time and I think that is a world I would like to continue exploring. I’ve done series and telenovelas for most of my career so far, so I am excited to explore film and see what I have to offer. 

The post Chelsea Thomas’s journey in acting appeared first on Film Cape Town.

Read all about the festival schedule here. 

·        Event Date: 31 Oct – 1 Nov 2026

·        Event Time: 09:00 – 17:00

·        Venue: Rockefeller Hotel & Residence

·        Tickets: From R 75

·        Website: Fame Shorts Film Festival

·        Event Organiser: RX Africa

The post FAME Shorts Film Festival appeared first on Film Cape Town.

• Date: 4 – 9 October 2026
• Venue: Cape Town City Hall & The Homecoming Centre
• Tickets: From R165 | Book here
• Website: loeries.com 
• Event Organiser: Loerie Awards Company

The post Loeries Creative Week appeared first on Film Cape Town.

Attendees can experience a diverse programme of insightful content sessions, film screenings, live music, curated exhibitions, and groundbreaking creative showcases, alongside unparalleled networking opportunities with key influencers, global partners, investors, and audiences.

Read all about the festival schedule here. 

·        Event Date: 28 Oct – 1 Nov 2026

·        Event Time: 09:00 – 17:00

·        Venue: Cape Town International Convention Centre 2

·        Tickets: From R2180

·        Website: fameweekafrica.com

·        Event Organiser: RX Africa

The post FAME Week Africa 2026 appeared first on Film Cape Town.