“I hope people who watch the movie see that we worked well together, we hung out and it was great,” sighs Khanyi.
Mmabatho agrees: “I also think women never hop on to a set and want to fight, because people want women to fight and be catty and so people set it up that way. We didn’t allow people to do that to us.” And the guys in the film? “They were visitors in our house. It was the girls’ territory. It was not about them,” Mmabatho says, joking. “They knew their place.”
Renate says: “I like the idea of including Johannesburg as a character. I hope ideas of the city are changing.”
Mmabatho agrees. “Just to go back to the guys, and the space, it was panAfrican, especially in the urban spaces, the guys were from different parts of the continent, so you have a mix of people, which is how Joburg is. And it was an honest reflection of South Africa, which I think is rare in our TV and film. It is a mix of people living here and finding love and work.”
Renate agrees with Mmabatho and adds: “It also wasn’t a pointed thing. There was no big deal made of the different nationalities. It just was, because that’s how it is in life. We just are.”
A recent review of the film called it “Sex in the City but in Sandton”, and I ask the leading women if that is correct or if it typecasts the film. They disagree that it’s a typecast.
Khanyi says: “It’s giving it a vibe for you to understand the pace and energy that’s in the film. But it is what it is. Youu and it’s more your Wa a have that close circle o fashion and the shoes The Devil Wears Pradaa and the City with the urban life.”
Renate adds: “But al South African film to a budgets are almost no ot
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