Filmmaker Oliver Hermanus discusses his work on Moffie
In the heart of South Africa's rich cinematic landscape, acclaimed director Oliver Hermanus has once again taken the helm, this time with his latest film, "Moffie." Based on AndreΜ-Carl van der Merwe's celebrated memoir, "Moffie" delves into the fear of being queer during the tumultuous 1980s, a time when society was determined to keep gay men and women in the closet.
Hermanus believes that issues of identity and sexuality are more pertinent today than they were in 1981, as the global LGBT community continues to face persecution and discrimination. He views "Moffie" as a prequel to his previous film, "Skoonheid," but with a different focus. While "Skoonheid" explores repression and self-loathing, "Moffie" takes a closer look at shame and indoctrination.
The story of "Moffie" primarily focuses on masculinity and the way white South African men have been indoctrinated to believe in superiority and hate. The nature of the army, being an inherently masculine and heterosexual space, contributes to an expectation and assumption that all men in the military should be heteronormative. This expectation is further reinforced by the conscription process, a system of hate and separation that Hermanus approached through extensive research.
To bring the story to life, Hermanus collaborated with Jack Sidey on the screenplay, with a fairly easy process of sharing drafts and building on each other's work. The cast, a mix of high school students, trained actors, untrained actors, and even non-actors, underwent a military bootcamp, learning how to shoot R1 rifles and drill for the film.
The casting process was a significant challenge, as the characters are all 18 or so, making it tough to find suitable actors. Despite the difficulties, Hermanus and his team managed to create a compelling cast that brings the story to life.
"Moffie" is intended to be a tear-jerker, potentially evoking memories of one's own time in the military for some viewers. The film takes place in 1981 and offers a visceral, heartfelt, and emotional experience. Hermanus hopes that the title of the film will go some way to eroding the toxicity of the derogatory term "moffie," a word used to denigrate gay men in South Africa.
For those who have seen Hermanus' previous work, "Moffie" will undoubtedly be a must-watch. For newcomers to his films, it promises to be a powerful exploration of queerness, masculinity, and the impact of societal expectations.
