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27 January 2022 | Story Leonie Bolleurs | Photo Supplied
Director and co-producer Mpendulo Myeni believes when it comes to making it in the film industry, one should use all the resources and opportunities you have at your disposal.

A single, unemployed mother; institutional corruption, blackmail, and the powerful players behind it. These are all ingredients for a 29-minute short film, Leshano, currently available on Showmax. 

Mpendulo Myeni, director and co-producer of the production that was filmed between Bloemfontein and Bothshabelo last year, says he was initially attracted to the script by writer and executive producer, Anton Fisher (a former Director of Strategic Communications at the UFS). “Hearing his creative ideas, I fell deeper into the storyline, wanting to explore the story and tell it with my own voice.”

Besides Myeni’s involvement with Leshano (The Lie), which was filmed in Sesotho with English subtitles, a number of other Free State artists contributed to the film. Napo Masheane, who grew up in Qwaqwa, was cast in the lead role. He is supported by Maria de Koker, Vincent Tsoametsi, Seipati Mpotoane, Pesa Pheko, Ntsiki Ndzume, and Shayne Nketsi. 

Aspiring filmmakers in the province also had the opportunity to be part of this success story, whether as make-up artists, wardrobe assistants, or location scouts. 

Myeni says Bloemfontein artists and spectators are excited to see that a film shot locally has been accepted by the streaming service, Showmax. “The story has been welcomed and has had an overwhelming response on social media by the Free State audiences. Dignitaries in the Free State Provincial Department of Sports, Arts, Culture and Recreation also positively commented on social media.”

“The Free State audience has embraced our creative expression. Many have requested for the story to be turned into a series,” he says.

Creative at heart

Myeni, a creative at heart, studied Drama and Theatre Arts, as well as Film and Visual Media up to honours level at the UFS. He also had the opportunity to study as exchange student at the University of Groningen in their film master's programme.

The international experience ignited his passion for filming and got him fired up and ready to create. He was involved in the production of several films. “I co-wrote and directed Eyelash (2020), which won a jury award, iamAFRICA, at the Pan African Film Festival in Los Angeles. This led me to create the critically acclaimed lockdown film, called Let Me Out. This film was praised by notable film critic Robyn Sassen as ‘a coronavirus gem’, like Vincent Mantsoe’s dance piece, Cut … to materialise on the cultural sphere, and it deserves as much attention as it can garner.” Another recent creation from Myeni is Amanzi, a short film yet to be released. “I also directed The Lie and collaborated with amazing creatives during the venture,” he elaborates. 

The complete Eyelash experience, winning the iamAFRICA award at the Pan African Film Festival in Los Angeles, might have been one of those life-changing moments for Myeni. He confirms: “Going to America was definitely an out-of-this-world experience, especially being such a big accomplishment – winning an internationally recognised film award from a distinguished film festival. I also got to meet and talk to the director of YouTube originals, as well as other filmmaking creatives.”

Firm foundations

Besides being an UFS alumnus and award-winning filmmaker, Myeni, who on a previous occasion received the Richard Miles award in the Faculty of the Humanities, is now working as an assistant officer in the Department of Architecture at the UFS. “I largely work with research and the creative outputs of postgraduate students. Furthermore, I manage the research hub and library and I also run the visual media aspect within the department.”

In addition, Myeni is also completing his master’s degree in Film and Visual Media at the university. “The academia and higher learning are very important to me; you can say that I am motivated by the academic avenues and learning opportunities that my position affords me,” he says. 

He believes that any lived experience will give insight into your character and abilities. “This experience in the film industry will carry me through to give more of myself in my current position, both academically and creatively.”

“I will never stop creating; my future holds more films, with me involved in producing and directing them.” In five years’ time, I see myself having been the creator of at least three other short films, and one feature film,” concludes Myeni.

News Archive

Game farming a lens to analyse challenges facing democratic SA – Dr Kamuti
2017-05-30

 Description: Dr Kamuti Tags: Dr Kamuti

Dr Tariro Kamuti, Postdoctoral Fellow at the Centre
for Africa Studies at the University of the Free State.
Photo: Rulanzen Martin

One of the challenges facing South Africa’s developing game farming policy is the fractured state in the governance of the private game farming sector, says Dr Tariro Kamuti.

Dr Kamuti, a Postdoctoral Research Fellow at the Centre for Africa Studies (CAS) at the University of the Free State (UFS), was presenting a seminar on Wednesday 17 May 2017 under the topic, Private Wildlife Governance in a Context of Radical Uncertainty: Challenges of South Africa’s Developing Game Farming Policy, which takes material from his PhD. He received his PhD from both the Vrije University in Amsterdam and the UFS in 2016.

His presentation explored how the private game industry positions itself in accordance with existing agricultural and environmental regulations. It also investigated the state’s response to the challenge of competing needs over land and wildlife resources which is posed by the gaming sector. “The transformation of the institutional processes mediating governance of the private game farming sector has been a long and enduring arrangement emerging organically over time,” Dr Kamuti said.

Game farming links wildlife and agricultural sectors
“I decided on this topic to highlight that game farming links the wildlife sector (associated with conservation and tourism) and the agricultural sector. Both make use of land whose resources need to be sustainably utilised to meet a broad spectrum of needs for the diverse South African population.

“The continuous skewed ownership of land post-1994 justifies questioning of the role of the state in confronting challenges of social justice and transformation within the economy.”

“Game farming can thus be viewed as a lens through which to study the broad challenges facing a democratic South Africa, and to interrogate the regulatory and policy framework in the agricultural and wildlife sectors at their interface,” Dr Kamuti said.

Challenges facing game farming policies

The state alone does not apply itself to the regulation of private gaming as a sector. “There is no clear direction on the position of private game farming at the interface of environmental and agricultural regulations, hence game farmers take advantage of loopholes in these institutional arrangements to forge ahead,” Dr Kamuti said.

He further went on to say that the state lacked a coherent plan for the South African countryside, “as shown by the outstanding land restitution and labour tenant claims on privately owned land earmarked for wildlife production”.

The South African government was confronted with a context in which the status quo of the prosperity of the middle classes under neoliberal policies was pitted against the urgent need to improve the material well-being of the majority poor.  Unless such issues were addressed, this necessarily undermined democracy as a participatory social force, Dr Kamuti said.

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