TOP LIST: 5 Most Romantic Movie Scenes of All Time

Grand gestures of romance, passionate kisses, spontaneous love confessions and a look of love shared between two new lovers will all definitely have you grab a box of tissues and cry all the tears. February, also known as the month of love, has had us all caught up in the celebration of this amazing feeling and what best way to do it than to turn on your TV and indulge in all sorts of epic love stories. From serious romantic dramas to fun and lighthearted romcoms, some movies have the best moving scenes that will make you weak in the knees when you think about eternal love; whether single or committed. So like a true sucker for love (definitely not the most conventional sucker for love though), I thought what better way to usher this month off than with a look back at the most memorable romantic moments we have seen on screen. 

Here is my list of 6 most romantic movie scenes:

1. Titanic: When Jack taught Rose how to "fly" and Whitney Houston's "I Will Always Love You" played as a soundtrack.

2. Casablanca: Rick prepares travel documents for Iisa and Victor but himself. The most romantic send off you'll ever watch.

3. The Amazing Spiderman: Unfortunately, I couldn't find the right picture to match this one. I know for many people, the upside down kiss is the favorite Spiderman romantic scene, but Peter and Gwen's first kiss on the rooftop in The Amazing Spiderman is my absolute best!

4. Romeo & Juliet: When Romeo and Juliet met and it was love at first sight.

5. When Harry Met Sally: When Harry and Sally finally realised their love for each other.

RED CARPET: Best Looks At The Oscars 2016

The biggest and grandest night in film took place on Sunday at the glamorous Dolby Theater in Hollywood and it was a full turn out for the 88th Academy Awards (OSCARS). The lavish event is the biggest night in award season and while it was sad to see the entire season come to an end (a lot of people know that it is absolutely my favorite time of the year and everything we do during the rest of the year leads up to this moment), it was also great to watch how celebrities pulled up the stops to look all sorts of glitz and glam for the red carpet one last time.

The floor length gown with an extended tail was a common trend for the night (it has been for the entire award season really). It ranged from the mermaid train to the ball gown and 'flowy noodle' style, while some added the slit and inverted curve to show off a bit of skin and give a more daring look. We also saw a lot of solids where stars went for one color toned ensembles. However, it all came with a lot of detailing and embellishments, so it wasn't too dull and boring.

I have narrowed down my favorite designs from the Oscars red carpet and here are my best looks:

Priyanka Chopra rocked this amazing Zuhair Murad gown. I totally love the detailing. The floral pattern is pretty enough for a feminine feel but it's not too girly. The sheer material also gives off a little tease but is not totally see through. The metal belt was a great touch of hard edge on the soft ensemble. Her neck was a bit too bare though, and a glam' neck piece would have been a nice finish off to the whole look. Nonetheless, the Bollywood star looked like a goddess on the red carpet.

My second best look was by the gorgeous Kerry Washington who looked like a gladiator queen in this monochrome outfit. The mixture of hard black leather and the soft white material create a beautiful contrast, giving her a strong look in the most gentle manner. The details are also very simple but bold, and the slit is a nice touch of 'peek-a-boo'. It is not the most conventional look for an Oscars red carpet, but it is in every way acceptable!

Oscar winner Brie Larson was certainly a princess for the night in this royal blue dress. The frills are a great detail for the gown and I like the fact that they are horizontal for a more elongating look. The overlapping lace material at the bust area also adds a splendid flare of playfulness and fun; and for her it didn't matter that she went without a neck piece. While the belt brings a hard tone to the soft look, it does it with the utmost femininity because of its floral details. Although it may seem as though this look has too much going on, it is all in a subtle manner that comes off beautifully. Brie definitely won in Oscars and in fashion on Sunday night.

If the Oscar statue had a statuette version, it would have to look like this! And I certainly mean that as genuinely as possible. Margot Robbie was a golden goddess in this number. Not a look I would personally go for on the usual, but I absolutely love how this dress fitted perfectly on her, showing off her curves while remaining conservative. The low-drop neckline shows off just enough skin not to make her look like a nun and I also love the detail in the waist area. Sequins, glitter and shimmer are usually a bit too much for me but this solid gold manages to maintain a minimalist vibe and Margot looks nothing like a 70s disco queen but all around a millennium queen.

I usually say that black is a safe color and when it is worn as a complete solid, it is even safer. However, Jennifer Garner was more than just safe on the Oscars red carpet. From the single arm trend to the two-tone contrast created by the different material on the upper half and the way it all falls off into a floor sweeping tail, leaving just a sneak peek for a little leg, the detailing of this ensemble is just too divine. The small belt embellishment is almost invisible yet has impact enough to suck her in at the waist, accentuating her natural curves. Jennifer was the true epitome of timeless classic. Like Priyanka, her neck is rather bare and a necklace matching her earnings and bracelets would have been a nice add.

TV REVIEW: It Was a Load Shedding Catastrophe For The 15th Metro FM Music Awards Live Broadcast

South Africa's biggest night in music took place on Saturday at the Inkosi Luthuli Convention Centre (ICC) in Durban, and stars turned out in full force for the 15th Metro FM Music Awards (MMAs), dressed in all sorts of designer frocks and dapper suits. The lavish event which takes place annually to celebrate and award the best of South African artists in the music industry was broadcast live on SABC 1 and hosted by media queen, Bonang Matheba and Metro FM DJ, Mo Flava.

Unlike in previous years, we saw an improvement in sound, which was a great relief. All dialogue, speeches and performances were projected clearly and could be heard perfectly. However it was sad to notice that an improvement in one sector didn't necessarily mean a step forward for the whole show as other areas of the awards ceremony seem to have taken a step or two back. The lighting was poorly done. It might have looked amazing for the guests and audience who were watching in person at the venue, but it was certainly a catastrophe for viewers at home. The biggest trick with lighting a venue for an event that will be televized is that two elements have to be considered. It has to work for both the live audience as well as TV viewers, something that doesn't seem to have been in mind for the production of the MMAs. The whole convention center was covered in darkness and the audience could not even be seen on screen. When the first winner, Emtee, was announced, the cameras tracked him from the sitting area but we couldn't see the rapper until he got on stage. It was the same pattern for most of the winners. Certain parts of the stage were too dark and particular camera angles showed dark shots. So even performances could not be seen clearly. For instance, while AKA was in the better lighten part of the stage in his "Baddest" perfomance, his co-musicians were out on the poorly lighten side it was all thanks to God for the close ups that we could see who was who. The camera operators, however, were not fazed by this lighting issue as they showed a lot of ariel shots of the audience which was either completely dark or covered by a layer of a dark purple glaze, making me wonder what the point of continuously showing us this mess was.

Bonang and Mo Flava did a splendid job as hosts of the show (they might have even been the best part of the entire production). The were certainly the one thing that Metro FM got absolutely right for the night. Their vast experience as event MCs was reflected and I loved the chemistry they shared on stage. They were thoroughly professional and threw in a bit of fun jabs here and there (definitely nothing to the level of Trevor Noah or Kat Williams, but good enough for two non-comics). As usual and in true fashionista fashion (excuse the double wording there. I couldn't resist) Queen B, strutted out in multiple designer ensembles through out the show which all looked absolutely amazing. Her co-host didn't lack behind either, as Mo seemed to have brought in an entire closet of his own too. He looked all sorts of dapper, although I wasn't too sure about his first suit which rather made him look like a walking MTN billboard. I did feel as though we didn't see them enough on stage and the voice over presenters were used just a little too much that they should have. It would have been nice to see more of them.

For a rainbow nation, I couldn't stop asking myself why the awards had gotten an obviously English speaking person to do their voice-overs, when he had to pronounce numerous vernacular names. They could have easily had an African language speaker who was more familiar with the all the nominees' names, both western and african. It was disheartening to constantly hear the names being mispronounced over and over again. Right from the start, Bonang was introduced as a Mathibe instead of Matheba, and it got worse for the rest of the nominees throughout the show. The selection of presenters for the awards was not too shabby except for a few like Generations' Namhla and Skeem Saam's Ayanda who kept choking and stumbling over their script (totally had me on my knees praying that they don't pull a Steve Harvey on us). Minister Fikile Mbalula and the Durban mayor also read their scripts on cue cards instead of the teleprompter, which was very distracting and looked tacky. Thank God that Sthandwa lady only had to show up twice because her presenting skills were rather questionable, and there was a delay every time they had to turn transmission to her, another broadcasting disaster by the SABC.

Lerato Kganyako was great as the social hub presenter, though I wouldn't say the same for her co-presenter, Trevor Gumbi. If he wasn't throwing in totally unfunny jokes, he was swaying interviews into absolutely irrelevant discussions. The two had no chemistry at all. At some point they were talking over each other and it all seemed like a competition instead of the cooperative activity that it was meant to be. Towards the end, Trevor seemed annoyed at Lerato for not letting him share in the spotlight, which Lerato did seem to be hogging. It was all just too embarrassing and painful to watch really.

With all been said, a huge congratulations to all the winners of the 2016 Metro FM Awards and for a complete list of winners visit the Metro FM website.

TV REVIEW: No Sir, This Ain't No James Bond. This is "The Night Manager"!!!

"The Night Manager" is a British-American television serial directed by Susanne Bier, based on a novel of the same name by John le Carré. It tells the story of former British soldier Jonathan Pine (Tom Huddleston) who is recruited by Angela Burr (Olivia Colman), an intelligence operative. He is tasked to navigate Whitehall and Washington, D.C. where there is an alliance between the intelligence community and the secret arms trade. He must infiltrate the inner circle of arms dealer Richard Roper (Hugh Laurie), Roper's girlfriend Jed (Elizabeth Debicki), and associate Corcoran (Tom Hollander).

The first episode opens up with blazing firecrackers, blasting gunshots, bricks up in the air and cars burning up in flames; and immediately you already know that this show is all about action. We meet Pine as he emerges fearlessly through all the drama in that scenario; but no, he is not part of the protest. He is on his way to work at the Nefertiti hotel as the night manager. He walks through like it's all nothing; cool, calm and collected. He is the perfect British hero. Unlike American heroes, Brits are more smooth, polite, charming, confident in the most humble way and mysterious (Oh, they are hella good looking too!). Tom Hiddleston fits into the Jonathan Pine character like a glove. The way he talks, the way he walks, the way he is blonde and toned (practically like Daniel Craig in James Bond). I like how he is also very decent; everything he does, he does with decency. A personality trait that may easily go hand in hand with being a good manipulator, yet Pine's storyline in the show proves him as an honest man.

Jonathan Pine is romantically linked with Sophie Aleka, who is the hotel owner's mistress, Freddie Hamid. Sophie gives him some secret paperwork for an arms deal between Hamid and businessman Richard Roper which Pine shows to the British embassy (I did mention earlier that he is an honest man). Sophie's life is now in danger, so he takes her to a safe house out of town.

Sophie is a beautiful woman who, even though she comes to Pine for help to take down her boyfriend's wicked business partner, she is the least vulnerable person I've seen and much more of a seductress. She is quite upfront and vocal about her desire to sleep with Pine and gets him to have sex with her while in hiding (how insane! Who wants to have sex while on the run? In a safe house?). And even though she is part of the 'good-guy-team', something doesn't sit well in my soul with her and I certainly don't like her for Jonathan. I guess it's not all bad that she quickly gets murdered.

The plot then fast-forwards to four years later where Pine is now working at another hotel (Meisters). He meets Roper for a second time when he and his men come to stay at the hotel. Hugh Laurie plays the best villain as Richard Roper. He is very demanding and pretty much a bully yet not in a way that's too much and annoying. His return into Pine's life evokes anger and motivates him to once again seek the help of British agent Angela Burr to help him. Colman is brilliant as the no-nonsense Burr. She is determined and driven by the desire for justice, though she faces multiple challenges from the government and M16.

Even with its many similarities to the Bond movies, "The Night Manager" still works. It does not seem too cliche or even too familiar. You will still want to see it. The war makes a great back drop for all the action in the beginning. The plot carries a fine balance of drama and action, serious but not too serious. However, like most TV shows in 2016, it was almost inevitable that it got all sexed up. From Pine's affair with Sophie to Roper's love interest, Jed, whom we hardly ever see with her clothes on in eepisode 1.

Watch "The Night Manager" on AMC (DSTV channel 140) every Mondays at 10:00pm

FEATURE: Great Ways for Swazi Filmmakers to Raise Funding

Raising money is one of the most challenging aspects of any production, from once-off fringe performances to multi-million dollar film shoots. It is even more difficult when you are operating in an industry like ours that does not have any specialized sources of funding for creative projects and very minimum understanding of the filmmaking business. Here are great ways to raise funds for projects (large and small), and let your talent earn you a livelihood.

Crowdfunding:

Crowdfunding has been a growing trend over the past decade among entrepreneurs and artists alike; and has helped fund hundreds of thousands of projects globally. Websites like "Kickstarter", "Crowdfunder" and "Indiegogo" allows users to register their business ideas/proposals with an online profile. Donors can then browse the site and pledge any amount, often in exchange for some sort of perk or gift. KC Wright on 'www.backstage.com' writes, "it can be easier to get $10 from 200 people than $2000 from one."

'Rewards crowdfunding' lets entrepreneurs to pre-sell a product or service to launch a business concept without incurring debt or sacrificing equity/shares. So this means donors can buy your film before you actually even make it and when production is completed, you can send them DVDs or screening tickets of the movie. 'Equity crowdfunding' on the other hand means the backer receives shares of a company, usually in its early stages, in exchange for the money pledged. So donors can receive a certain percentage of the profits your film generates during distribution. Most crowdfunding campaigns depend on family, friends, and their connections for the majority of donations but can attract global donors when they go viral and this requires a lot of pushing on social media

Private investment from friends and family:

If you are lucky to have family and friends that believe in your ambitions enough to invest in them or that have a better understanding of how the industry works, this might be an option for you. I can already hear a lot of you laugh at this point because pitching a filmmaking business proposal to most Swazi folks is like speaking gibberish. However, if your people are open minded or have connections that are, it will save you a lot of headache. Your investors can be paid back in equity or have their initial investment returned to them plus a cut of the project's earnings.

Fundraising events:

Car washes and raffles aren’t just for school plays. If you’re looking to raise a small amount of money (or simply

covering gaps in your budget), traditional fundraisers can give you the boost you need. Launch parties, opening night galas, and auctions can all be great ways to bring in money after a production or film premieres. Host a fundraising event and give collaborators, investors, and donors the chance to meet and socialize while raising funds for your project. You can challenge various prominent individuals and company executives to pledge in different amounts. We know how power hungry men are always looking for opportunities to outshine their counterparts, let them battle it out on your bank account.

However, do note that private events cost some money to pull off, and are not guaranteed to bring in all of the funds that you may need. It all depends on your marketing and negotiation skills.

Angel investors:

Unlike donors, investors provide funding with the expectation of returns—their

initial investment plus a cut of the project’s earnings. This means that if the project makes money (and hopefully it will), they will be paid back before the filmmakers or theater-makers. This is a good option for larger budget projects or when working with high profile talent. Even though it may be currently difficult to convince finance institutions and companies to fund film projects in Swaziland, there may be some individuals with enough money (or rather just rich) and have love for the arts or creative media that may be willing to invest in you and your project. Do your research and see who you can find. You are not limited to local investors only either. Find international business people that are looking to invest in the industry and sites that link angel investors with entrepreneurs might help.

Remember though that investors are in the business of making money and expect you to be as well, so you’ll likely need a body of highly creative and unique work that will get their attention. And you will need to present your proposal as a business. If the project does turn a profit, investors will be seeing that money first.

Grants:

Hundreds of artistic grants are awarded to individuals and organizations each year, from small boosts for niche projects to five or six-figure sums. While countries with established film industries may have domestic institutions that give out grants to their local filmmakers, a privilege that filmmakers in Swaziland do not have, there are also various sources that provide funds to global creative. If you have an idea or project of an international standard, go on and research different international grants that you may be eligible for and apply.

Aside from the monetary value, earning a grant represents a vote of confidence in the overarching value—monetary, intellectual, emotional, or otherwise—of your work. Be warned that the grant application process can be grueling and competitive, requiring tons of research, preparation, attention to detail, and clarity of purpose.

Sponsors and advertisers:

It’s no secret that advertisements keep the entertainment industry up and running, but you don’t have to be a major network to boost your budget with ad sales. Advertisements can work to your favor on a small scale (like using Samsung gadgets only in your film), or a very large scale (letting people view your film for free on an online channel, getting it to go viral and selling ad space to companies). Get companies to provide your production with wardrobe or props and get a chance to have their products showcased on the film and seen by many when it is finally screened. This will save you money on your budget and it can be invested in other areas. New brands are most likely to willingly work with unknown names than established brands, however, a great marketing plan can help you convince them otherwise. Other companies may also be willing to give you money in return for credits. Try and find companies that are used to sponsoring arts and media projects. Advertisers can provide large upfront funds that do not have to be returned if the project makes money.

It can be a bit hard to secure this kind of funding as a new filmmaker, without proof of your work or star names behind your project. Allow time (most companies only approve sponsorships during a certain time of the year so research when their financial year starts or ends) and be persistent. Advertisers want a return just like investors — more attention on their product or service—so you are accountable for driving traffic towards their brand. Therefore you will need to put in as much work on marketing as you will on production.

It can not be emphasized enough that raising funding is a lot of work that requires time and patience. Some productions may take years to get off the ground. Be prepared to put in the work and practise patience.

(credit: http://www.backstage.com)

FILM REVIEW: "Happiness is a Four Letter Word" - A Pleasing Cliche of Sentimentality

Romantic comedy is not the usual choice of genre when it comes to a lot of South African (or even African) filmmakers and therefore it can be quite interesting to see some local productions take this popular Hollywood style and give it a local setting. We have recently seen some domestic romcoms such as "Ayanda" and "Tell Me Sweet Something" come through and gain standard success; and it was only a matter of time that more of these 'funny love tales' came rolling on the big screen.

"Happiness Is A Four Letter Word" tells the story of three ordinary friends living life in the fast and fabulous lanes of Johannesburg, trying to find their happiness while maintaining images of success and acceptability. We meet perfectionist lawyer Nandi (Mmabatho Montsho) whose final wedding arrangements are nearly in place but she gets cold feet when an old lover comes back into her life. Glamorous housewife/"trophy wife", Zaza (Khanyi Mbau) engages in an affair when her husband is out of town on lengthy business trips and fears the day it will all come to light. Princess (Renate Stuurman), is a trendy gallery owner who (at first) seems to be the luckiest of all the ladies when she has it all. Money, success...and love! But she has fallen for the wrong man. They all soon come to find that "life is not a bed of roses, and happiness never comes with a manual".

The characters tell a compelling and relatable story. Three woman going through the ups and downs of life and supporting each other. Even though they are all far from perfect, I like how the film doesn't judge them but lets them be. Their flaws make them human, a subtle whisper to let us know that it is okay to embrace ourselves the way we are, even with our shortcomings. The greatest selling point of the movie is how it manages to capture the hearts of the urban chic woman with the mood of the city lifestyle while the sisterhood of the three women is something that resonates with females from all walks of life.

The actresses did such an amazing job in bringing the characters to life and I almost feel as though they all had the easy task of just being themselves on camera. Although they had to portray this fictitious storyline, their roles were not necessarily a far cry from who they are in reality. Mmabatho does come across as serious/focused while we definitely see vast traces of Khanyi in Zaza, and Princess is Renate through and through. It is interesting to see Mbau display strong acting skills, and standout from experienced Montsho and Stuurman. Her character is captivating to watch. Tongayi Chirisa and Hlomla Dandala also add a nice flare of testosterone 'yuminess' to the estrogen infested flick, making for a fun guilt pleasure of drooling. As much as I love the film and think that it is triumph for African cinema, it can be quite cliché. It is almost like any other romcom that we have seen on our screens before with exaggerated emphasis on sentimentality. Sometimes the plot tends drag and scenes are a bit drawn out, but in the end, it all makes for a good 'chic-flick experience'.

FILM REVIEW: "Fifty Shades of Black" - An Overdone Mess That Still Comes Off Short!

The idea of spoofing a movie like "Fifty Shades of Grey" doesn't quite seem like a difficult thing to do. There is just so much to play around with (no pun intended). Well, that is what I thought, until Marlon Wayans and his team proved me wrong! I swear that is what they set out to do with "Fifty Shades of Black", and there could never be a better explanation of why the film turned out so stupidly horrible.

Firstly (starting on a better note), Marlon Wayans actually pulls off that Christian look quite nicely. Even though he might come off as young (mostly emphasized by his trendy German haircut) or rather inexperienced, he still looks quite dapper and commanding in that black suit. While he is no Idris Elba, he really proved himself as a good fit for a black Christian Grey. However, in "Fifty Shades of Black", he isn't just a black version of Christian Grey, he is Christian BLACK. A total opposite of what Grey is. Jamie Dornan’s Christian Grey has some kind of button-down stiffness about him that commands respect in an aggressive yet subtle way while Marlon tends to seem like a nice guy that is just trying a bit too hard not to come off as a whimp. I guess that is where the elements of spoofing begins for "Fifty Shades of Black".

The original is mostly based on the kinky and dominatrix sex life style and preferences of Christian Grey; and while most of his encounters that we see on the movie are with Anastasia, the focus is not quite about her but him. He has some sort of power over her and she is submissive and obedient. In "Fifty Shades of Black", we see an interesting twist where Hannah's S&M appetite seems to surpass that of Christian as she pushes boundary after boundary, coming up with sexual behaviors that he has never imagined, which leaves him wallowed up in his embarrassment for his shortcomings. 

Hannah is much more out there and aware (or should I say 'ghetto smart') than her naive yet flirtatious counter part, Anastasia; but even so, her modesty is also largely exaggerated. She is made out to be the ugliest and most awkward woman on earth, which is really hard to register when Kali Hawk actually has the cutest smile but "Fifty Shades of Black" will make sure that you buy into their idea whether you like it or not. Mirrors break due to her 'bad looks', she crashes into doors, and her head gets smashed by elevators. The movie will absolutely drown you up will all sorts of tasteless jokes. 

From scenes of prosthetic penises that come in all shapes and sizes (which I presume is supposed to make us giggle like a bunch of teenage girls) to sloppy tongue kisses and a roommate that has chlamydia. The film is just trying too hard and failing dismally. Then there is the typical racial slurs which aren't even given much effort. It is like they just took ALL basic stereotypes that have ever been pinned on black society and piled them up into this one movie. Not funny at all. Just overdone and predictable. It is worth mentioning though that the joke on Christian Black's array of whips hanging on the wall of his Red Room of Pain, labeled “Amistad ”, “Glory", “Django Unchained” and “12 Years a Slave” was a clever touch. So yes, I laughed a few times; I'll admit that, but it really just isn't a good film.

TV REVIEW: Mbali Mlotshwa is the Confident-Shy Nandi on SABC 2's "7de Laan"

TV personality and Actress, Mbali Mlotshwa's career recently took an interesting turn when she landed a role in the SABC 2 Afrikaans soap opera, "7de Laan", as Nandi Khumalo. She made her debut appearance on the show last Friday (February 19) as a fashion designer who moves to Hillside to design a men’s fashion range with Felicity. The 28-year-old model is best known for her role as Precious on SABC 1 dramas "Tshisa", "Soul City", "Inkhaba" and Mzansi Magic's "Rockville" (hence I say her career took an 'interesting' turn, because we are used to seeing her take on roles in more ethnic productions and it should be amusing to see her mingle with a different audience market).

Nandi comes from a prominent family – her father is a professor in economics at a local university and her mother is a magazine editor. She values her parents’ opinions and has always been close to them. She is outgoing, confident, feisty, not afraid to speak her mind and has a wicked sense of humour. She is also a

keen cyclist and quite competitive in everything she does. Sifiso starts dating Nandi and the two develop an easy, comfortable relationship. She is caught totally unaware when she realises that she is attracted to Bernard, and vice versa. This was not supposed to happen – and knowing that her father will not approve, Nandi at first resists. But love conquers all!

When Nandi walked into Felicity's boutique, she looked every bit like the high fashion designer that she is set out to be. Nothing like most of the characters in the 'Laan', she has a more classic, trendy look. She also looks quite young (blame it on the baby face that is Mbali) and definitely brings a fresh touch into the show. However, even though Nandi is obviously supposed to be this confident and independent woman who reeks command, Mbali's soft-toned voice humbles her down to a more sweet and shy personality. It also doesn't help that on her first episode, she wasn't given much dialogue but had to smile and nod most of the time (especially in her scene with Felicity at the coffee shop). I would have loved to see her say more words and bring out a much stronger personality. "7de Laan" is filled with different bold characters that come together like this perfect diverse community of eclectic individuals. I am afraid that the only thing that might make Nandi stand out right now is her classic, urban look in the more contemporary environment that "7de Laan" is, while her personality gets swallowed up.

However, her character profile and storyline sounds interesting and I hope that as time progresses (and as she is given more dialogue), we will see her character blossom and gain momentum. Mbali is an amazing actress and "Nandi" should be an easy character for her to carry through.

Watch "7de Laan" on SABC 2 every weekday at 6:30pm

EDITORIAL: SAFTAs 2016 Winners Predictions

On SAFTA nominations morning, the public had a field day when most of their favorites here snubbed from the awards. Viewers and critics alike were in uproar about the selection process and questioned if the chosen nominees were really deserving. Although it is still quite unclear how the judging panel selects their nominations (I myself, being among the many that would like to know), here we are with a list of nominees and there is pretty much nothing we can do about it. It is about 4 weeks to the award ceremony taking place on the 20th of March in South Africa and I will admit that it is quite difficult to predict who might take any of the SAFTA gongs home come awards night when the nominations themselves came as a big shock.

TV comedy "ZA News: Puppet Nations" leads the race in the television category with 11 nominations, beating TV dramas "Uzalo" and "Isidingo", which really comes as a huge surprise. "Saint and Sinners" has 7 nominations while "Shreds and Dreams" is only running on 3 nominations. "Ayanda" and "While You Weren't Looking" are head to head with 6 nominations each in the film sector. "Ayanda", produced by Terry Phetho's Leading Lady production company has an astounding international recognition, boasting of international screenings and has won numerous awards; thus might be an obvious favorite. I really hope "Hear Me Move" takes it home in the two categories it is nominated in and it deeply saddens me that it never made it onto best feature film list (even though I would have still rooted for "Ayanda").

Here are my predictions for the 10th SAFTA winners (Winner picks in CAPS)

Best TV Drama:

Matatiele

Saints and Sinners

UMLILO

Best TV Comedy:

Ga Ra Dumele

KOTA LIFE CRISIS

Those Who Can't

ZANews: Puppet Nation

Best TV Soap:

ISIBAYA

Ashes to Ashes

Rhythm City

Best Achievement by a Lead Actress - TV Drama:

NTHATI MOSHESH (SAINTS AND SINNERS)

Linda Sokhulu (Shreds and Dreams)

Gugu Masondo (Shreds and Dreams)

Best Achievement by a Lead Actor - TV Drama:

Bheki Mkhwane (Uzalo)

Siyabonga Radebe (Saints and Sinners)

S'DUMO MTSHALI (SAINTS AND SINNERS)

Best Achievement by a Lead Actress - TV Comedy:

Robyn Scott (Those Who Can't)

Chantal Herman (Those Who Can't)

VATISWA NDARA (KOTA LIFE CRISIS)

Best Achievement by a Lead Actor - TV Comedy:

Aggrey Loake (ZANews: Puppet Nation)

MANDLA GADUKA (GAUTENG MABONENG)

Nik Rabinowitz (ZANews: Puppet Nation)

Best Achievement by a Lead Actress - TV Soap:

LEEANDA REDDY (ISIDINGO)

Brümilda van Rensburg (Binnelanders)

Tema Sebopedi (Isidingo)

Best Achievement by a Lead Actor - TV Soap:

Vusi Kunene (Isibaya)

Motlatsi Mafatshe (Isidingo)

SIYABONGA THWALA (ISIBAYA)

Best Achievement by a Supporting Actress - TV Drama:

BRENDA NGXOLI (ROCKVILLE)

Motshabi Tyelele (Matatiele)

Charmaine Mtinta (Matatiele)

Best Achievement by a Supporting Actor - TV Drama:

TERENCE BRIDGETT (90 PLEIN STREET)

Deon Lotz (When We Were Black)

Wayne van Rooyen (Shreds and Dreams)

Best Achievement by a Supporting Actress - TV Comedy:

Jennifer Steyn (Abo Mzala)

Linda Sebezo (Gauteng Maboneng)

TUMI MORAKE (KOTA LIFE CRISIS)

Best Achievement by Supporting Actor - TV Comedy:

BONGANI MADONDO (KOTA LIFE CRISIS)

Thembile Botman (Abo Mzala)

ZANews Puppeteers (ZANews: Puppet Nation)

Best Achievement by a Supporting Actress - TV Soap:

Linda Sokhulu (Isidingo)

MAGGIE BENEDICT (ASHES TO ASHES)

Elize Cawood (Binnelanders)

Best Achievement by a Supporting Actor - TV Soap:

Richard Lukunku (Ashes to Ashes)

SAMSON KHUMALO (ISIBAYA)

Siyabonga Shibe (Ashes to Ashes)

Best TV Presenter:

Johan Stemmet (Noot Vir Noot)

Danine Naidoo (Edge)

Stoan Seate (Afro Café)

Pabi Moloi (Eksê Zwakala)

KATLEGO MABOE (EXPRESSO)

Riaan Cruywagen (kN VERSLAG)

Dingaan Mokebe (Speak Out)

Vele Manenje (Siyakholwa We Believe)

Katlego Maboe (Strictly Come Dancing)

Tumi Osei-Tutu (Our Perfect Wedding)

Chanley Wong (Craze - Sistahood 1019)

Best Achievement in Directing - TV Drama:

Khalo Matabane (When We Were Black)

Mandilakhe Yengo, Denny Miller (Saints and Sinners)

ROLIE NIKIWE, ZUKO NODADA (MATATIELE)

Best Achievement in Directing - TV Comedy:

ALEX FYNN (ZANEWS: PUPPET NATION)

Zee Ntuli, Daniel Zimbler (Those Who Can't)

Krijay Govender, Joshua Rous, Segomotso Keorapetse (Ga Re Dumele)

Best Achievement in Directing - TV Soap:

Eric Mogale, Siyabonga Mkhize, Heather Cooke (Rhythm City)

Gert Van Niekerk (Ashes to Ashes)

NEO MATSUNYANE (SKEEM SAAM)

Best Feature Film:

AYANDA

Dis Ek, Anna

For Love and Broken Bones

Best Achievement by a Lead Actress - Feature Film:

FULU MUGHOVANI (AYANDA)

Jana Strydom (Treurgrond)

Thishiwe Ziqubu (While You Weren't Looking)

Best Achievement by a Lead Actor - Feature Film:

Mduduzi Mabaso (For Love and Broken Bones)

EMANUEL GWEVA (THINA SOBABILI)

Lionel Newton (While You Weren't Looking)

Aubrey Poo (Ingoma)

Best Achievement by a Supporting Actress -

Feature Film:

Tina Jaxa (While You Weren't Looking)

NTHATI MOSHESH (AYANDA)

Shaleen Surtie-Richards (Treurgrond)

Best Achievement by a Supporting Actor -

Feature Film:

Marius Weyers (Dis Ek, Anna)

KENNETH NKOSI (AYANDA)

Thomas Gumede (Ayanda)

Best Achievement in Directing - Feature Film:

Sara Blecher (Dis Ek, Anna)

Tebogo Malope (For Love & Broken Bones)

ERNEST NKOSI (THINA SOBABILI)

EDITORIAL: OSCARS 2016 Winners Predictions

YES!!! It's finally here!! Its OSCARS week and the 88th Academy Awards are just a few days away. Pardon my extreme excitement, but some of us live to exist in this moment; the biggest night in film. Now while the stars are busy putting final touches to their frills and sequins for the red carpet, commentators are updating their predictions for this year's winners. Who will win, who should win?

When award season started out, "Spotlight" had been leading the race for best picture. However, it has now been overtaken by "The Revenant", which is nominated for 12 Academy Awards in total. The film has already triumphed at the Golden Globes and after sweeping the BAFTAs, it has certainly become a favourite to win best picture at this weekend's Awards. This puts Alejandro Gonzalez Inarritu at the best odds to take best director (he picked up best picture, best director and best original screenplay in 2015 with "Birdman") and Leonardo DiCaprio for best actor (who is yet to win his first Oscar over the course of his lengthy Hollywood career and has been on a roll all award season). Sylvester Stallone's nomination for this year's supporting actor award came as a surprise, and although he has been nominated once for an Oscar before with Rocky in 1977, this would be his first win. 

Brie Larson is leading the pack up for the best actress award for her role in "Room". She has already won a Golden Globe and SAG award for the performance and it seems almost certain that she will take it home at the Oscars. Kate Winslet won in the best supporting actress category for "Steve Jobs" at the Golden Globes, but Alicia Vikander took home the honours at the Screen Actors Guild Awards three weeks later for "The Danish Girl"; and has been tipped by many to win this Sunday, but my gut feeling tells me that Kate Winslet might just take it. "Mad Max: Fury Road" definitely has quite a strong hand at creativity, and is certain to sweep away most of the design awards while "Inside Out" seems to be leading the best animated feature film category even though it never made it onto the best picture shortlist.

The awards will be held at Hollywood's Dolby Theatre on 28 February, with comedian Chris Rock as host.

Here are my predictions for the 88th Academy Awards winners (Winner picks in CAPS)

Performance by an actor in a leading role:

Bryan Cranston (Trumbo)

Matt Damon (The Martian)

LEONARDO DICAPRIO (THE REVENANT)

Michael Fassbender (Steve Jobs)

Eddie Redmayne (The Danish Girl)

Performance by an actor in a supporting role:

Christian Bale (The Big Short)

Tom Hardy (The Revenant)

Mark Ruffalo (Spotlight)

Mark Rylance (Bridge of Spies)

SYLVESTER STALLONE (CREED)

Performance by an actress in a leading role:

Cate Blanchett (Carol)

BRIE LARSON (ROOM)

Jennifer Lawrence (Joy)

Charlotte Rampling (45 Years)

Saoirse Ronan (Brooklyn)

Performance by an actress in a supporting role:

Jennifer Jason Leigh (The Hateful Eight)

Rooney Mara in (Carol)

Rachel McAdams (Spotlight)

Alicia Vikander (The Danish Girl)

KATE WINSLET (STEVE JOBS)

Best animated feature film of the year:

Anomalisa

Boy and the World

INSIDE OUT

Shaun the Sheep Movie

When Marnie Was There

Achievement in cinematography:

Carol (Ed Lachman)

The Hateful Eight (Robert Richardson)

Mad Max: Fury Road (John Seale)

THE REVENANT (EMMANUEL LUBEZKI)

Sicario (Roger Deakins)

Achievement in costume design:

Carol (Sandy Powell)

Cinderella (Sandy Powell)

The Danish Girl (Paco Delgado)

MAD MAX: FURY ROAD (JENNY BEAVAN)

The Revenant (Jacqueline West)

Achievement in directing:

The Big Short (Adam McKay)

Mad Max: Fury Road (George Miller)

THE REVENANT (ALEJANDRO G. IÑÁRRITU)

Room (Lenny Abrahamson)

Spotlight (Tom McCarthy)

Best documentary feature:

AMY

Cartel Land

The Look of Silence

What Happened, Miss Simone?

Winter on Fire: Ukraine's Fight for Freedom

Achievement in film editing:

The Big Short (Hank Corwin)

MAD MAX: FURY ROAD (MARGARET SIXEL)

The Revenant (Stephen Mirrione)

Spotlight (Tom McArdle)

Star Wars: The Force Awakens (Maryann Brandon and Mary Jo Marke)

Best foreign language film of the year:

Embrace of the Serpent (Colombia)

Mustang (France)

SON OF SAUL (HUNGARY)

Theeb (Jordan)

A War (Denmark)

Achievement in makeup and hairstyling:

MAD MAX: FURY ROAD

The 100-Year-Old Man Who Climbed out the Window and Disappeared

The Revenant

Achievement in music written for motion

pictures (Original score):

Bridge of Spies (Thomas Newman)

Carol (Carter Burwell)

THE HATEFUL EIGHT (ENNIO MORRICONE)

Sicario (Jóhann Jóhannsson)

Star Wars: The Force Awakens (John

Williams)

Achievement in music written for motion pictures (Original song):

EARNED IT (FIFTY SHADES OF GREY)

Manta Ray (Racing Extinction)

Simple Song #3 (Youth)

Til It Happens To You (The

Hunting Ground)

Writing’s On The Wall (Spectre)

Best motion picture of the year:

The Big Short

Bridge of Spies

Brooklyn

Mad Max: Fury Road 

The Martian

THE REVENANT

Room

Spotlight

Achievement in production design:

Bridge of Spies (Adam Stockhausen, Rena DeAngelo and Bernhard Henrich)

The Danish Girl (Eve Stewart and Michael Standish)

MAD MAX: FURY ROAD (COLIN GIBSON AND LISA THOMPSON)

The Martian (Arthur Max and Celia Bobak)

The Revenant (Jack

Fisk and Hamish Purdy)

Achievement in sound editing:

Mad Max: Fury Road (Mark Mangini and David White)

The Martian (Oliver Tarney)

THE REVENANT (MARTIN HERNANDEZ AND LON BENDER)

Sicario (Alan Robert Murray)

Star Wars: The Force Awakens (Matthew Wood and David Acord)

Achievement in sound mixing:

Bridge of Spies (Andy Nelson, Gary Rydstrom and Drew Kunin)

Mad Max: Fury Road (Chris Jenkins, Gregg Rudloff and Ben Osmo)

The Martian (Paul Massey, Mark Taylor and Mac Ruth)

THE REVENANT (JON TAYLOR, FRANK A. MONTAÑO, RANDY THOM AND CHRIS DUESTERDIEK)

Star Wars: The Force Awakens (Andy Nelson, Christopher Scarabosio and

Stuart Wilson)

Achievement in visual effects:

Ex Machina (Andrew Whitehurst, Paul Norris, Mark Ardington and Sara Bennett)

MAD MAX: FURY ROAD (ANDREW

JACKSON, TOM WOOD, DAN Oliver and Andy Williams)

The Martian (Richard Stammers, Anders Langlands, Chris Lawrence and Steven Warner)

The Revenant (Rich McBride, Matthew Shumway, Jason Smith and Cameron Waldbauer)

Star Wars: The Force Awakens (Roger Guyett, Patrick Tubach, Neal Scanlan

and Chris Corbould)

Adapted screenplay:

THE BIG SHORT

Brooklyn

Carol

The Martian

Room

Original screenplay:

Bridge of Spies

Ex Machina

Inside Out

SPOTLIGHT

Straight Outta Compton

TV REVIEW: HBO's "Vinyl" is a Disappointing Spin of the 70s Rock & Roll Drama Without the Rhythm

To be honest, I wasn't as excited about the debut of "Vinyl" as some people were. I am a 90s baby. I was born into the boom of the 21st century pop culture. The biggest music executives I know are Diddy and Dr Dre. Destiny's Child, TLC and Spice Girls are my definition of vintage music. I know nothing about punk or disco; and I often hear people talk about (or sing about) having moves like Jagger, but in all truth, I don't know what they are really talking about. So the idea of "Vinyl" wasn't quite relatable to me ( I don't even know how a vinyl works) and I was only eager to see it because, like the self professed 'TV junkie' that I am, I will pretty much watch anything that lands itself on my screen. With all that said, it is to be noted that "Vinyl" is not just a show based on the 70s, it is a Martin Scorsese production based on the 70s!!! So then again, yes, I had to see it!

In the 2 hour pilot episode (the darn longest I have had to sit for a TV show. It almost felt like a movie.), it's 1973 and we meet Richie Finestra, played by Bobby Cannavale, who is trying to save his music company while caught up in an erratic life of cocaine addiction and secrets from the past. Then one night, he discovers the 'New York Dolls' as they perform “Stranded in the Jungle” in a village dive. Later, his assistant Jamie (Juno Temple) brings in a demo of a punk band called the Nasty Bits. The two bands become a beacon of hope for the music executive in saving his company. Olivia Wilde plays Devon, Richie's wife; and Zak Yankovich (Ray Romano), the label’s head of promotions, and Skip Fontaine (J.C. MacKenzie), head of sales, are his business partners. His top boss, Maury Gold (Paul Ben-Victor), is mobbed up and a deranged radio station owner, Frank “Buck” Rogers (Andrew Dice Clay), is driving him nuts.

In true Martin Scorsese fashion, "Vinyl" explores the concept of the music business in the 70s rather than the music itself. We know how Scorsese is a big fan of organized crime or power hungry men going at each other, and we see this in most of his previous work ("Wolf Of Wall Street", "Mean Streets", "Goodfellas" and "Casino"). It is also very much reflected in "Vinyl" which I am not quite sure if that is a good thing or not. It might still be an acceptable concept in movies, but it is an exhausted formula when it comes to TV if you ask me. Looking at the title of the show itself, you might expect "Vinyl" to be a song filled production with all the greatest hits of the 70s playing in background and in performance. For a 90s kid like me, you might expect to get schooled in what the birth of punk, disco and hip-hop really meant. But that is not the case as not much of the music is really showcased in "Vinyl".

Instead we are taken on a ride through the sex- and drug-addled alleys of 1973. It seems that everyone in this era was crazed by the addiction of snorting coke and sleeping with showgirls, and had absolutely no depth or substance in life (totally tarnishing any of the trust in me for people born in 'nineteen-seventy-what what'). 

From what I've researched, even though punk, disco and hip-hop pretty much triggers the thought of obsession with sex and drugs, the 70s was a rich period of amazing music, fashion and culture. That is what would have been a great selling point for "Vinyl", pretty much like what "Empire" did with the '90s and 2000s'. It would have been lovely to get a sneak peek into the world of the 70s instead of the mediocre that "Vinyl" has tried to sell to us. I guess it is not always that sex sells and and drugs are addictive. James Jagger's appearance in the show, (Mick Jagger's son who strikingly looks exactly like him), can be a bit of a mind fuck because we are supposed to see him as a totally different singer and not as Jagger. Jagger was not even part of this era.

"Vinyl" is a great concept with great potential. I hope the writers were able to get the nitty gritty out of the way in the first (extra looong) episode and will now gear us up for the best parts. I really hope they managed to find their feet (considering that I only started to really enjoy "Empire" on episode 6, so maybe I am being a bit too hard).

"Vinyl" airs on Mnet Edge (DSTV channel 102) every Thursdays at 9:05pm.

FEATURE: The Biggest Mistakes That Swazi Filmmakers Make

Filmmaking in Swaziland is still very new. Although there are a few individuals that have been in the industry for years, it is only recent that the skill has started receiving recognition and be treated more than just as a joke. While local filmmakers fight to thrive and build a sustainable industry for themselves, I have observed that there are common mistakes that they seem to make.

Playing the one man show:

Funding for filmmaking in Swaziland is still very scarce and one of the solutions that most filmmakers find is best for decreasing costs is keeping an extra small team or even doing too much themselves. However, this compromises on the quality of the production because while the filmmaker struggles to get everything done, there are certain areas that may be overlooked, affecting the entire outcome. It is best for filmmakers to work harder in acquiring funding, even if it means exhausting all their savings to ensure that they are able to build up a sufficient team that will cover all the rorequired to work on the film and bring out quality work while also avoiding exhaustion and collapse.

Playing the jack of all and master of none:

The film industry is a multi faceted industry with different fields. While some can play solid all rounders, most are talented in just one or two fields and it becomes a big mistake for filmmakers to attempt taking up a role they are not talented or skilled for in a production. Just because you are the creator or main investor for a production, it does not mean you are obliged to take up the role of director or producer when you can get someone else to do a better job. Hire a finance person to take care of the accounting. Accept that you don't know what you don't know.

Treating your job/business like a hobby:

It's one thing to take up filmmaking on the side as a part time hobby, but when you decide to go into it fulltime and make it your source of income, you need to understand that professional filmmaking is both art and business. Most filmmakers make the mistake of focusing greatly on the creative side and forgetting about taking care of the business side. This will lead to your productions never making it out of the editing suit due to lack of funds or even having your productions eat at your funds and bring nothing back in return. Build a solid business structure for your production house and treat yourself like a corporate creative so that your company can thrive and people can respect your work. Go to school and further your studies if you have to or get a mentor. Do whatever it takes to gain more knowledge, acquire skills and build yourself up as a professional.

Working in isolation:

When I talk about working in isolation, I don't just mean working by yourself as discussed in my first point. Some filmmakers isolate themselves from the entire industry. I have met professional filmmakers that work daily in the industry but have no clue what is happening out there. Even though you want to remain unique in your craft, it is best to keep up to date with industry news, trends and what other filmmakers get up to. This will help to inspire you and let you learn from other filmmakers while competing at an acceptable standard. You do not want to be left behind or repeat mistakes that have been done before, and you certainly want to develop yourself to be the best you can be. Making friends in the industry will also ensure that you have someone to talk to or even seek advise from when you face difficult challenges.

Staying in the comfort zone:

Elliot Grove once wrote, "Most filmmakers work with the same team members over and over again. There is nothing wrong with this - except - who is challenging and testing you and your ideas?" Filmmakers in Swaziland have been working with same people for years. This means they have been having the same experiences for years and no longer have anything new to learn from these people. Thus they are not growing as creatives or developing. Some have also grown comfortable with producing what they call "Swazi stories" and are afraid of trying other genres or styles of filmmaking because they feel that they might lose momentum or be viewed as sell outs by the industry.

The film and television industry in Swaziland is still very small and young, but there is great potential and room for improvement. It would be amazing to see some of the immensely talented filmmakers in the country becoming of great success and I hope you can use some of these tools in taking the appropriate action towards developing your careers.

EDITORIAL: SAFTAs 2016's Biggest Nods and Snubs

On Thursday, the National Film and Video Fund announced their nominations for the 10th Annual SAFTAs in a star studded, red carpet event that was held in Johannesburg. The awards recognize the contributions and achievements of South Africa's artists in both the film and television industry. The internet almost broke with excitement from fans and it was compliments galore for the nominated parties while some angry viewers who felt that their favorites were subbed also expressed their disappointments on the day.

It was great to see actors that have done amazing work in the past year getting nods from the industry's biggest awards. Isibaya's Siyabonga Thwala and Vusi Kunene are nominated for the Best Actor in a TV Soap category alongside Isidingo's Mahlatse Mafatshe. Nthati Moshesh (Saints and Sinners),Linda Sokhulu (Shreds and Dreams) and Gugu Masondo (Shreds and Dreams) make up the Best Actress in a TV Drama nominees while Bheki Mkhwane (Uzalo), Siyabonga Radebe (Saints and Sinners) and S'dumo Mtshali (Saints and Sinners) were given the nods for Best Actors in a TV Drama. "Matatiele", "Saints & Sinners" and "Umlilo" are in the running for best TV Drama while "Isibaya" and "Ashes to Ashes" battle it out for the Best TV Soap award. It was also great to see Maggie Benedict get recognized for her supporting role in "Ashes To Ashes" as well as Terence Bridgett who got a nom' for Supporting Actor in "90 Plein Street".

Despite all these great nominations, there are also some deserving actors and productions that I feel were snubbed from the awards. "Uzalo" was left out of the Best TV Drama category and "Scandal" and "Skeem Saam" were not nominated for Best TV Soap. Dawn King who does a splendid job playing the vindictive MaNgcobo on "Uzalo" was not nominated for Best Lead Actress in a TV Drama and it was shocking to see Masasa Mbangeni as well as Manaka Ranaka get left out of the Best Actress in a TV Soap and Best Supporting Actress in a TV Soap respectively. Mlungisi Mathe who plays the character of the sleek and witty Emkay on "Skeem Saam" should have been included as Best Supporting Actor in a TV Soap. I also think "7de Laan" and "Scandal" are two of the best soaps currently on TV that one can watch without ever puking at the storyline and should have gone for the Best Achievement in Scriptwriting; and we all know that "Scandal" is also deserving of that Best Cinematography in a TV Soap award.

It is hard to understand why the judging panel or board or who ever is responsible, opted to limit their nominations to only 3 nominees per category and it is really unnecessary for the awards to have this many categories. While it is fair for productions and actors to compete according to genre, it is quite uncalled for to have make-up artists, costume designers and production designers doing the same.

Many have complained that 10 years later the SAFTAs still have so many flaws and loose ends; we hope that in the next coming years we will see some improvements. In the meantime, we wish the best of luck to all the nominees.

Here is the complete list of the SAFTA 2016 nominees: http://www.tvsa.co.za/user/blogs/viewblogpost.aspx?blogpostid=32319