A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Saturday, August 22, 2026

This Is Not a Burial, It's a Resurrection (Lemohang Jeremiah Mosese, 2019)

Mary Twala Mhlongo in This Is Not a Burial, It's a Resurrection

Cast: Mary Twala Mhlongo, Jerry Mofokeng Wa, Makhaola Ndebele, Tseko Monaheng, Siphiwe Nzima-Ntskhe, Thabiso Makoto, Thab Letsie, Silas Monyatse, Aleandro Florio, Sarah Weber. Screenplay: Lemohang Jeremiah Mosese. Cinematography: Pierre de Villiers. Art direction: Leila Walter. Film editing: Lemohang Jeremiah Mosese. Music: Yu Miyashita. 

Deeply touching and sometimes astonishingly beautiful. Lemohang Jeremiah Mosese's This Is Not a Burial, It's a Resurrection is a fable about the tensions of the modern world, most centrally about tradition and change. Mantoa (the compelling Mary Twala Mhlongo) is a woman who has suffered the loss of her family, and now patiently -- perhaps a little impatiently -- awaits her death. Her main hope is to be buried with her family in the valley where they lived. But that hope is thwarted when surveyors and engineers arrive in the valley bringing news that it's to be flooded by the construction of a new dam. Soon she is confronting not only the government of Lesotho but also some powerful local authorities. Her resistance gains support from other villagers, but not enough to stem the tide of what some call progress. (The village chief says, "Every time I say the word progress, my tongue rolls backward.") It's a simple story of people imbued with faith, maintained by the village priest, but also tinged with skepticism. Part of the film is narrated by a man (Jerry Mofokeng Wa) who plays a lesiba, a musical instrument native to Lesotho and South Africa. At one point he narrates the history of the valley, which was settled by people fleeing a plague, and with the arrival of Christianity the village was named Nazaretha. A new god had arrived, the lesiba player comments, but now perhaps another new god is appearing. The cinematography of Pierre de Villiers provides a rich color palette for Mosese's thoughtful story.