From Bo-Kaap to the big screen, Gasan Sallies on culture, community and cinema

South African filmmaker Gasan Sallies has carved out a distinctive voice in cinema, one that blends heartfelt storytelling, cultural authenticity, and visual imagination. From his early beginnings in Bo-Kaap, influenced by his late mother, writer and director Zulfah Otto Sallies, to his award-winning film Tussen Die Kwashale, Sallies continues to explore stories rooted in identity, family, and creativity. In this Q&A, he opens up about his journey into film, the power of authenticity, and his vision for the future of South African cinema.

Q. You’ve worn many hats, director, writer, producer. How did your journey in film begin? My journey into film is deeply rooted by the influence of my late mother, Zulfah Otto Sallies. She
truly nurtured the creative spirit in me and my siblings. My mother was an author, screenwriter,
and director, her most notable work, Diekie van die Bo-Kaap, is currently a setwork book in many
government schools, and her short film Raya staring Denise Newman and Oscar Petersen and
Rehane Abrahams was one of her biggest films. From a young age, my family and I were
surrounded by storytelling, theatre, and film because of her, and that exposure shaped
everything I do today. I made my first film at 19 with my cousins as the cast and crew, and that
experience confirmed for me that filmmaking was my path. I later studied Animation and Visual
Effects to elevate my craft, it gave me the confidence to blend visual effects and animation into
my stories without feeling intimidated by the process. I’ve always believed in constantly
upskilling and pushing yourself creatively. For me, storytelling is at the heart of everything I do,
and film remains one of my biggest passions.

Q. What inspired you to tell stories through film specifically?
I’ve always loved the film format. What fascinates me most is how two different directors can
take the exact same script and still create completely different experiences. It all comes down to
their style, the approach, the edit, the colour grade, the music. There are so many elements that
make up filmmaking, and that’s what makes it such a powerful storytelling tool. Film allows
people to connect on multiple levels, it can be deeply intimate one moment and completely
distant the next. It has the ability to make audiences feel something real. To me, film is a
beautiful form of storytelling, an endless playground of ideas and emotions. What excites me
most is that it always comes down to one simple question: how are you going to tell your story?

Q. Was there a defining moment when you realised filmmaking was your calling?
I think it really all goes back to my mother. As I mentioned, I’ve always loved telling stories, and
she was the one who encouraged that. My mother used to say, “If you feel, write.” Writing and
storytelling have always been a part of me. There wasn’t one defining moment that sparked it, it
came in fragments, through her love for stories and filmmaking. As kids, she’d take us to the
cinema or make us watch films like Children of Heaven, Spirited Away, and Pan’s Labyrinth,
stories with real heart and depth. I also remember sitting on the roof of our Bo-Kaap home,
watching her direct her film Raya, which beautifully portrayed Cape Malay culture in a fictional
way. Those moments stayed with me. In many ways, she’s the reason behind my love for film
and all things creative.

Q. Growing up in South Africa, what influences shaped your storytelling voice?
South Africa is such a diverse country, so rich with different cultures, languages, and nuances, and
that alone shapes the way we tell our stories. I love this place. I love the way we speak, the way we
see the world, the way we do things, it’s just different. That uniqueness naturally finds its way into
our storytelling, and I think that’s what makes South African cinema so special.

Q. How do your personal experiences and community inform your creative work?
It really influences my work in so many ways. As I’ve gotten older, I’ve found myself drawn to
telling stories that are rich in substance, culture, and visual depth. My mother’s influence
continues to shape the way I write, she often wove personal experiences into her work, and I’ve
carried that with me, especially when exploring themes like loss and grief. That’s a big part of my
latest film, Tussen Die Kwashale. My Cape Malay culture is something I’m deeply proud of, but my
sense of community goes beyond that, it includes family, friends, and neighbours who all inspire
my characters, their nuances, and even their dialects. Everything around me feeds into my creative
process. If I’m writing a nosy aunty, for example, she’s probably drawn from someone I actually
know. It all comes together in a very natural, authentic way.

Q. When developing a new story, where do you usually start, with a character, a theme, or
an image?
It really depends, but most of the time my process starts with a single sentence, a “what if,” or
sometimes I see or hear something in the world or on the news that sparks a crazy idea. I write it
down and flesh it out into a sentence, and if it sticks in my head, I expand it into a paragraph.
That’s usually when I start getting excited. Being a very visual person, thanks to my background in
animation, I often create a mockup poster or a working title in Photoshop to represent the idea
visually, that just fuels my excitement even more. From there, I dive into developing the story
further. My workflow isn’t strict, if it works in the moment, I go with it. Sometimes that means
writing a full scene first, sometimes the whole script, and other times a beat sheet. The key for me
is that the ideas keep flowing and the script gets written.

Q. What kinds of stories are you most drawn to telling, and why?
I really enjoy telling stories that have a unique visual element, like mixing different media to bring a
comedy or drama to life. For example, my comedy heist film Straatrotte blends live action with
animation for a fun, dynamic feel. On the other hand, Tussen Die Kwashale, while a drama
exploring deeper themes, still incorporates visual elements, like paintings coming to life through
the eyes of the main character, who is a child. That said, for me, the story always comes first. I
especially love telling stories about kids and how they navigate the world, whether through
adventure, drama, or comedy. Seeing the world through the lens of kids or young teens just adds a
layer of freshness for me and makes storytelling even more interesting.

Q. How do you balance authenticity with the need to appeal to a broader audience?
I honestly think authenticity is the key to reaching a broader audience. People are tired of seeing
the same Hollywood formulas over and over. If you put your authentic stamp on your film and are
specific with cultural details, it actually makes the story universal. So often we think that to appeal
to a wider audience, we have to copy Hollywood, but I’d argue the opposite. It’s authenticity that
draws people in, that makes your film feel real and relatable, no matter where they’re from.

Q. Are there particular South African or international filmmakers who inspire your
narrative style?
I’m a huge fan of Guillermo del Toro, I love his style of storytelling, and Pan’s Labyrinth is my
all-time favourite film. I’m also really inspired by Edgar Wright and the unique style he brings to
his films.

Q. What role do you think South African cinema plays in shaping national identity?
I think South African cinema plays a big part in shaping who we are as a nation. Our films
tell stories that reflect our everyday lives, the way we speak, laugh, struggle, and dream.
Because we come from such different backgrounds, cinema becomes a space where all
those voices and cultures can meet.

Q. How can filmmakers responsibly represent marginalized voices without falling into
stereotypes?
I think it starts with really listening. Filmmakers need to take the time to understand the people
and communities they’re representing not just tell stories about them, but with them. That
means involving those voices in the writing, casting, and creative process so the story feels
genuine and not like an outsider’s version. It’s also about avoiding the easy shortcuts the
stereotypes we’ve seen over and over and instead showing people as full, complex human
beings. Everyone has layers, contradictions, and dreams, and when filmmakers focus on that, the
story automatically becomes more honest and respectful.

Q. What do you hope audiences take away from your work?
I really just want what every filmmaker wants, is for people to connect with my work. Whether
that is to make them think, laugh or cry. I just want audiences to connect with the characters
and stories I create.

Q. How do you see the local film industry evolving in the next few years?
Honestly, I think the South African film industry is really starting to find its voice. We’re seeing
more local stories being told in our own languages, by people who actually live those
experiences, and that makes a huge difference. Stories are also getting so much bolder on the
South African scene, we are breaching into Fantasy, sci-fi, all different genres still whilst keeping it
authentic, with streaming platforms like Netflix and Showmax investing in South African
projects, filmmakers have more chances to get their work seen around the world. There’s also a
lot more collaboration happening, both locally and internationally, which helps raise the quality
and opens doors for new talent. I think the next few years will be about finding that balance
between growth and authenticity, making films that can travel globally, but still feel true to who
we are. There are still challenges, especially with funding but I feel like the energy and creativity
here is stronger than ever.

Q. Your film, Tussen Die Kwashale won an award, what does this mean for you and your
team?
It’s extremely exciting and rewarding, we’re all thrilled to see the international audience
connecting with our film. Knowing that people from different parts of the world are engaging
with the story we’ve created, and relating to the characters and themes, is such an incredible
feeling. It really validates the hard work and passion that went into making the film.

Q. How can the public support your film?
It should be on DSTV Catchup and then will be on showmax in soon.

Q. What’s next for you?
I have quite a few projects in the pipeline that I’m really excited to bring to life. The process of
securing funding can be long and sometimes challenging. I do have projects ready to go and I’m
really looking forward for next year.