Mapantsula

“Mapantsula” is a word in South African culture that refers to a petty thug. Thomas Mogotlane (who also co-wrote the screenplay) plays such a mapantsula, who goes by the name Panic. He drinks until he passes out. He steals clothes and sells them on the streets. He snatches women’s purses. He lives rent-free in a small room in a complex owned by his mother and when she asks for money, he gripes and groans. Mapantsula takes place in South Africa during the Apartheid occupation. Jobs are scarce, money is low and rent keeps going up and up. When Panic’s mother talks about needing money from him, we have an understanding of the socioeconomic strain she’s under. Hardly anyone we meet in this film is able to make ends meet, due to the stranglehold the colonizers have over the Black population. 

The film moves back and forth between timelines. We see Panic in a jail cell, occasionally taken into another room for interrogation; and we move back to see a day in the life of a Black South African citizen in extreme poverty. While Panic has no interest in the politics of the occupation, many others do, including his ex-girlfriend who’s involved in a blossoming romance with an activist. As we cut back and forth between these two timelines, it’s unclear, at first, which occurs chronologically. Was he arrested before the events we’re witnessing as he roams the street as a petty thief and gangster, or after? How does each one shape the other?

As Mapantsula nears its climax, the image becomes clearer and clearer. And the ending packs a wallop. It’s both devastating and uplifting. It’s a true testament to the power of the human spirit and a condemnation of the Apartheid. The message itself, which I wouldn’t dare spoil, is simple, yet earned over the course of the film, by watching Panic grow. The ending, and how we arrive there, depend so much on experiencing life through someone else’s eyes.

Mapantsula reminds me a lot of the earlier films of Martin Scorsese, like Mean Streets, which are more interested in expressing a truth of life than they are in adhering to some strict narrative structure. The film spends a lot of time in a seemingly aimless direction, but it’s deceptive in its supposed directionlessness. It’s a tribute to the power of film to allow such empathy to develop between viewer and subject–to see this violent gangster, someone who’s a real freeloading loser, and grow to understand their plight. We see the world that shaped them and get to know the people who want to knock it down, to rebuild something in its place.

Mapantsula was made during Apartheid’s occupation of South Africa and uses an unflinching eye to capture the brutality its Black population was forced under. The film was, of course, banned in South Africa as a result. The film embodies the bravery of protest against oppressive forces and stands as an incredible statement of what one voice means in a sea of voices. Every single voice matters. What an amazing movie.

Vital Disc Stats: The Blu-ray
Film Movement’s release of Mapantsula is on a single Blu-ray disc, housed in a standard case, with no removable slipcover. Inside, on the reverse of the cover art, is a screenshot from the film highlighting the plight of the protagonist. Also included is a 10-page booklet that includes a statement from the film’s director and an essay from Richard Pena.

Mapantsula was shot on 35mm film for a limited budget, scanned in 4K from its original camera negative and presented in 1080p high-definition for this Blu-ray. This isn’t the most attractive movie I’ve ever seen, which is understandable given the sheer pressure I’m sure the filmmakers were under in completing this project. My minor issues and gripes are mostly confined to the colors looking a little oversaturated at times, which was likely an intentional stylistic choice. It was filmed on location in South Africa and the streets of Soweto have a palpable realness to them. Details are nice and sharp and we can see fine details like sweat on the brow of the actors. 

There are two audio options available: 2.0 LPCM stereo, and 5.1 surround, encoded in Dolby TrueHD. Both options worked great, as they favored dialogue clarity, but in my tests, I preferred the surround mix. It’s a very front-heavy presentation, with only atmospherics (and very occasional musical selections) making their way to the rears. But it just feels a bit more immersive on the front, wider and fuller. The stereo mix is a terrific option for folks who don’t have a surround system, or if they’re just using TV speakers or a two-channel soundbar.

Mapantsula comes with an audio commentary from the director, along with a lot of archival interviews from the cast and crew, giving a great contextualization to viewers about the amount of work that went into making this film.

• Audio Commentary - Director Oliver Schmitz
• Interviews
• Director Oliver Schmitz (SD 24:46)
• Actor Thembi Mtshali (SD 9:27)
• Actor Marcel van Heerden (SD 5:52)
• Musicians Ian Osrin, Thapelo Khomo, Kenny Mathaba (SD 7:07)
• Producer Pierre Montocchio (SD 17:52)
• Promotional Featurette (SD 4:07)
• Trailer

As a title card that precedes the film explains, it’s a miracle that Mapantsula was even made, and it’s an even greater miracle that it survived. If there’s one thing oppressors can’t stand, it’s a strong, brave voice. They will do anything within their power to silence it. Restored from its original 35mm camera negative, Mapantsula remains a great testament to the power of cinema and the human spirit. Film Movement’s work on this Blu-ray release is amazing and it comes Highly Recommended.