Mehboob Bawa’s journey through film and cultural storytelling

Mehboob Bawa grew up in Claremont, Cape Town, during a time when families of different faiths and cultures lived closely together, surrounded by rich stories, strong community values, and fascinating people from all walks of life. “My family home and corner café became a meeting place for travellers, clergy, community leaders, and anti-Apartheid activists, and listening to their experiences deeply shaped my understanding of people and storytelling.” said Mehboob  

From a young age, Mehboob was captivated by Indian cinema. “I was named after legendary Indian filmmaker Mehboob Khan, whose socially conscious films inspired my love for meaningful, human-centred stories. Those early influences sparked my passion for performance, filmmaking, and creating content that resonates emotionally and reflects real life.” he said.  

Mehboob’s passion led him into acting, radio, presenting, production, and storytelling across multiple platforms in both South Africa and internationally.  

He continued to build a diverse acting career across both local and international productions, gaining extensive on-screen experience. Notable highlights include his portrayal of Ahmed Kathrada in Goodbye Bafana, directed by Oscar winner Bille August, as well as roles in popular Leon Schuster films such as Schuks Tshabalala’s Survival Guide to South Africa and Pay Back the Money. 

He later took on a lead role in the international short film The Flood, he also starred in an award-winning short film about a scientist involved in the development of an HIV/AIDS cure, which was later stolen by a rival pharmaceutical company; the film, shot on an iPhone with modified lenses, received multiple accolades including Best Film at the iPhone Film Festival. 

His broader screen work includes the South African romantic comedy Late Bloomer, the Irish romantic drama Anner House alongside Liam Cunningham, and appearances in television sitcoms such as Madam and Eve, The London Guy, and Fishy Feshuns. 

In 2009, he expanded into production, working with FilmAd to facilitate logistics for Bollywood films shooting in South Africa. In this role, he has helped line produce numerous international projects featuring leading Indian actors, further establishing his footprint in cross-border film production. 

You’ve worked across different roles and disciplines; how would you describe your creative identity today? 

I see myself as a storyteller first and foremost. Whether I’m acting, producing, presenting, or hosting on radio, my focus is always on creating an emotional connection.  

A few years ago, I was cast in an Afrikaans TV series, Die Sentrum, which saw me perform an important role in many episodes. It was my first fully fledged role speaking mainly Afrikaans. It was a challenge which I met head on and received very positive reviews. The show was set in a lifeline type call centre and dealt with issues that are relevant in today’s times. I played a businessman who sponsors the centre and is often at loggerheads with his son about his approach to life. The story thread resonated with me as it showcased family relationships and was steeped in reality.  

My creative identity is rooted in authenticity, cultural pride, and a desire to tell stories that entertain while also reflecting who we are as South Africans, whether it be on Radio, TV or in Film.  

What has been the most defining challenge in your journey so far, and what did it teach you? 

One of the biggest challenges was bringing our own home production, Bhai’s Cafe, to life. It was a project years in the making and required a tremendous amount of perseverance, sacrifice, and belief from my wife Razia Rawoot who served as the producer and myself.  

I’m really proud of Razia, who, while having produced lifestyle oriented TV shows in her career, took on the responsibility of producing her first ever feature film, She was guided by our director, Maynard Kraak, but took on every challenge from making funding applications to the NFVF, DTI, dealing with private financiers and auditors, as well as overseeing the crew and balancing the budget. Razia relished the opportunity, won the hearts of many and saw the process through with aplomb.  

There were many moments when it would have been easier to walk away. What it taught us is that if you truly believe in a story and remain committed, you can overcome almost any obstacle.  

How did working on culturally rooted stories like Bhai’s Cafe shape your approach to filmmaking? 

Bhai’s Cafe was deeply personal because it drew inspiration from my own family’s experience running a corner café in Cape Town. It reinforced my belief that the more specific and authentic a story is, the more universal it becomes. Audiences connect to truth. Since then, I’ve become even more intentional about telling stories that celebrate our communities, our values, and our shared humanity.  

Which past project are you most personally proud of, and why? 

Without question, Bhai’s Cafe holds a special place in my heart. It was a labour of love and a true family project.  

The film was selected to close the Durban International Film Festival in 2019 and was invited to screen at a number of international film festivals as well. It found a home on Showmax for 5 years, which came to an end recently.  

Seeing something inspired by my upbringing resonate with audiences across different backgrounds was incredibly rewarding. It proved that stories from our communities matter and deserve to be seen on a bigger stage. 

How important has representation and community storytelling been throughout your body of work? 

It has been central to everything I do. Growing up, there were very few opportunities to see our communities represented authentically on screen. I’ve always wanted to help change that. Representation is about more than visibility; it’s about dignity, understanding, and creating a sense of belonging. 

In 2025, Lucky Fish, a film I acted in was released on the big screen before moving to a streaming service. Incidentally it has been chosen as one of the opening films at the South African Film Festival in Australia and New Zealand which starts in June this year. The film has a huge focus on women empowerment, as well as a story thread which deals with treating everyone respectfully. These are examples of the type of representation and community stories which resonate with me.  

The aforementioned, Die Sentrum, with its focus on dealing with issues facing virtually everyone at some point in ytjier lives, is another example of the importance of representation and community storytelling, aside from our own film, Bhai’s Cafe as well. Even on radio, many of the interviews I conducted were aimed at inspiring and motivating the listener to live their best life and empowering them with the tools to do so. The presentation style of my radio shows was through the use of storytelling to appeal to a wider representative audince.  

You are in Die Kantoor and it captures uniquely South African workplace dynamics and humour. How important was authenticity in shaping the series? 

Authenticity was absolutely essential. What makes the show so effective is that audiences immediately recognize these characters and situations. We all know someone like them.  

The person from the BBC who runs “The Office”franchise globally, was on set with us during the first week of production. He said to me that the brief was to stick to certain important elements of the original, but then to create our own world which South African auiences would relate to. I think the writing team really nailed the brief.  

We have an amazing director, Bennie Fourie, who ran a tight ship, even though he was rolling in the aisles at the performances at times like the rest of us. He is known as the King of Improv and that’s where the show really came into its own. While we had excellent scripts to work from, quite often he’d just shout out ideas or lines which we had to improv on the spot. I think that really kept us as performers on our toes and heightened the sense of authenticity in the show.  

Even though the format is comedic, the humour lands because it feels real and grounded in familiar South African experiences.  

What do you like most about your character Gavin? What do you think the success of Die Kantoor means for the future of comedy and alternative storytelling in the local industry? 

What I enjoy most about Gavin is that he is a family man with a strong moral character. While he certainly likes his boss, Flip, or should I say his “bossman”, they don’t always see eye to eye, but they let bygones be bygones and forgive and forget quite quickly. Gavin is both relatable and entertaining. He brings a distinct personality to the workplace dynamic, and it’s been a lot of fun exploring his quirks and interactions with the other characters. 

I’ve been stopped so many times by groups of people, friends, families, single individuals and asked, “aren’t you Gavin from Die Kantoor? Can we please, please get a pic” These requests make me really happy as I understand that they relate to the character and find him appealing. Recently I was asked via an Instagram message from someone to please send a video clip wishing her sister on her birthday, as my character Gavin! 

The success of Die Kantoor shows that South African audiences are eager for fresh formats and smart, character-driven comedy. It proves that we can adapt global concepts while making them feel uniquely local. 

Mockumentaries rely heavily on timing, realism, and character chemistry. What was your experience like bringing those elements together on set? 

It was an exciting and collaborative process. The mockumentary format requires a naturalistic performance style and a strong sense of timing. Much of the humour comes from subtle reactions and awkward silences rather than punchlines. Working with such a talented ensemble made it easy to build that chemistry and trust. I must add that we all had so much fun on set, which I also think translates well on screen.  

What role do productions like Die Kantoor play in opening doors for new formats and fresh voices? 

They play a significant role. When audiences embrace something different, it gives broadcasters and producers more confidence to take creative risks. That creates opportunities for new writers, directors, and performers to bring original ideas to the screen. 

How do we ensure authentic local storytelling remains at the centre as the industry evolves? 

We need to continue investing in our own voices and supporting stories that reflect the diversity of South Africa. Authentic storytelling comes from people who understand the communities they’re portraying. If we remain true to our experiences while maintaining high production standards, our stories will continue to resonate both locally and internationally.

It’s so important that we continue creating opportunities for disadvantaged voices and invest in those communities as well. We have a rich cultural heritage across our country and meaningful investment needs to be made in our people to ensure that our creative industries including film, tv and theatre continue to thrive. By nurturing local talent, developing skills and supporting authentic storytelling, we can preserve our diverse voices, create sustainable employment and successfully share South Africa’s stories with audiences at home and abroad.