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The main character of Oliver Hermanus’ shattering “Moffie,” set in 1981 South Africa, is a handsome, white 18-year-old. In the country’s system of apartheid, he is a member of the ruling class, but he’s no insider.

Shy, timid and closeted, Nicholas van der Swart (Kai Luke Brummer) is conscripte­d into the army as part of regulated military service for white males over 16. There, the film’s title — an Afrikaans’ anti-gay slur — isn’t directed at him but it’s hurled all around — an ever-present threat of ostracism and abuse. In brutal basic training, it’s as if bullets are already flying perilously close to Nicholas.

But “Moffie,” which opens in theaters and on-demand Friday, is more than a comingof-age story about a young gay man in an unprogress­ive society. In following Nicholas into basic training, the film wades into the dark heart of apartheid and a cauldron of destructiv­e masculinit­y. There, young men are indoctrina­ted, through the barks of drill sergeants, to an ideology of fear, oppression and nationalis­m endemic to 1980s South Africa but also to most any other place or era. Nicholas has been conscripte­d into an army of intoleranc­e, one that sees him as an enemy.

From the start, the imagery by Hermanus and cinematogr­apher Jamie D. Ramsay is grittily intimate, tactile and vivid. The score by Braam du Toit sets an ominous tone. The camera trails overhead the train that will take Nicholas to the barracks as it snakes slowly over the grasslands. We only briefly glimpse his life beforehand; his father hands him a girlie magazine for “ammunition.” On the train, a soon-to-be-friend (Stassen, played by Ryan de Villiersof­fers) offers him a drink. When Nicholas declines, Stassen replies, “Are you sure? Do you know where we’re going?”

They’re in training for the border war with Angola and the perceived threat of communism. The training, at the orders of Sergeant Brand (Hilton Pelser), is grueling. While suffering under the hot sun, they’re not just turned into warriors but brainwashe­d into believing communists, “Black savages” and “moffies” are all to be “cured” by killing them. Some of the scenes of bodies in the desert suggest Claire Denis’“beau Travail.” Life in the barracks nods to Stanley Kubrick’s

“Full Metal Jacket.”

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