HOME. SABBATICAL. KARABO & me. part three: Q&A
Absolutely - I was trying to show that Lesego is ultimately quite self-involved and even though Koketso was being kind to her, she left her most prized possession...
“The film boasts an exceptional creative team: Motheo Moeng (SASC) (Queen Sono, Matwetwe) brings his trademark visual power as Director of Photography, crafting a look that is both arresting and intimate. A lush, jazz-infused score by celebrated musician Bokani Dyer adds soulful depth and emotional gravity to the unfolding drama. Produced by Tamsin Andersson and Kagiso Lediga, SABBATICAL is as layered as it is visually arresting. Edited by Khulekani Zondi (Classified, Big Nunu’s Little Heist), the film moves with emotional precision and tension, capturing a South African story that speaks to global themes — the cost of ambition, the weight of familial expectation, and the damage done in silence.” Press Contact, Maria McCloy
AP: Various shades of pink make their way onto the screen. What's the significance of that colour in the film?
KL: I wanted Doris’ world (Lesego’s home that she goes back to when things are not working out for her) to feel like it’s stuck in the past, almost like a memory - I wanted it to be oppressively pink and floral too, something that a well-off banker type would deem cheesy. I wanted Lesego’s Joburg world to be cold and clinical with lots of blues too and greys and glass that you see in the office location and her home. Cont'd: It was the motif for Doris' house which is why you see it everywhere in that world. The production and costume designer, Ntokozo Kunene, followed the brief and creatively took liberties in colouring the world in this way. It really is all about Doris' world - cheesy pink that Lesego would never use in her own life or home or wardrobe. I guess the hair is a symbol of how she becomes of this world eventually - the world of her past.
AP:Is Lesego scared of her mother? Does she resent her? Or both?
KL: She’s scared to disappoint her by telling her the truth but no necessarily scared of her. She definitely resents her for having such high expectations of her.
AP: Were you trying to show us how inconsiderate Lesego is when she left Koketso’s (Tsholofelo Maseko) bag unattended? My theory: if the bag were to get lost, it would have been such a blow to *Thuli's reputation as a DJ. And it would have spoiled the 40th celebration. And ruined the whole vibe for all the people at the party.
KL: Absolutely - I was trying to show that Lesego is ultimately quite self-involved and even though Koketso was being kind to her, she left her most prized possession unattended when she saw a dude.
AP: How did you decide on the songs you used (not the original score)?
KL: I used deep house as the soundtrack of Koketso’s life and of Lesego’s homecoming because it reminds me of my childhood/teenagehood - I find it sexy and nostalgic too. I used a couple of other commercial tracks because I like them like Black Motion’s ‘Takala’ which also creates a contemporary Pretoria vibe - I love Black Motion!
AP: Clothes, hair and make-up are integral components in visually communicating Lesego’s state of mind in various stages. In the scene where Door tells Lesego how she scammed the Mighty Tigeresses Lesego is the most done-up we’ve seen her - this comes after she's free from the burden of the case. What was the process of figuring out the wardrobe, hair and makeup as storytelling devices?
KL: I wanted the audience to really feel like Lesego is going through a breakdown and she’s at her lowest for most of the film . She comes home in this red power suit that has no place in her life here. Doris keeps urging her to wear her hand-me downs but Lesego refuses, opting to stay in this pink velvet tracksuit that Doris first gives her when she arrives. Doris starts to hate the tracksuit, the dirtier it gets but Lesego does not care - she is broken. I also wanted hints of her “normal” life (in pictures) to look quite the opposite to this breakdown - make-up, a wig, designer wear - almost like she is playing the part of “success” until her fall. Towards the end of the film, she’s on a journey to healing, perhaps, and looks wholesome but not like she did in her corporate life - it’s less performative but not broken.
AP: What are some of your favourite African movies?
KL: I love Rungano Nyoni’s “I’m Not A Witch” I also love Matwetwe - Kagiso Lediga (I’m biased). I loved Palesa Shongwe’s short film “Nomalanga And The Witch”. I really enjoyed Big Nunu’s Little Heist by Andy Kasrils. I loved the Nigerian film ‘Eyimofe’ by Arie Esiri and Chuko Esiri. Djibril Diop Mambéty’s Touki Bouki remains a classic. Also ‘Atlantics’ by Mati Diop and Saint Omer by Anna Diop. There are many others.
AP: How do you protect your intellectual property?
KL: I do my best in ticking all the boxes to try to prevent it but I accept that piracy is rife especially when people don’t have access to films whether it be because of money or bad distribution.
AP:What are some financially viable film distribution models in a country like SA, "the most unequal society in the world"?
KL: I think licensing to streamers seems to be a good way to recoup some costs but the only other way I see viable is selling to other territories outside our own.
AP: What strategies have you implemented to create awareness and interest in the film? And are you happy with the results?
KL: We aimed for a Mother’s Day themed release and campaign that got us a lot of media attention - the film was received well by reviewers so that got us more media. We also had a premiere that was not just exclusive to celebrities but encouraged people to bring their mothers and aunties and other mother figures as well as women who are part of stokvels to amplify word of mouth. We also had a big screening at AFDA to activate the younger audience. I’m ecstatic about how well the film was received by those who watched it but it hasn’t translated into movie ticket sales and that’s been a hard pill to swallow. I do think the climate is not conducive to movie going especially for black South African films so I can’t be too hard on myself and the film.
AP: Is there an online portal where one can watch African films?
KL: I know of Kweli TV
AP: What makes DIPRENTE special?
KL: The people at Diprente really believe in experimenting with TV and filmmaking which means taking a lot of risks and that comes with breaking a lot of ground - it doesn’t always work out but the ride is always thrilling and worth it.
AP: What are your future plans as far as filmmaking is concerned?
KL: I hope to make more feature films that get seen by even more people around the word. I also want to make a lot of experimental short films - I love short films.
AP: What are your thoughts on the policing of black women's hair/hairstyles?
KL: I think black women should wear whatever hair they like in any scenario without anybody having an opinion on it. Playing with our hair so much fun - it’s often not that deep and if it is, it really should NOT be.
AP: What books hold a special place in your heart?
KL: There are many but I read these books as a child and young adult so they are forever etched in my memory and heart: ‘Down Second Avenue’ by Eskiah Mphahlele, ‘Fools and Other Stories’ by Njabulo Ndebele, ‘To Kill A Mockingbird’ by Harper Lee, ‘Nervous Conditions’ by Tsitsi Dangaremba, Alice Walker’s ‘In Search of Our Mothers’ Gardens’, Buchi Emecheta’s ‘Second Class Citizen’, Chinua Achebe’s ‘Things Fall Apart’.
