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'Fairy tales only happen in movies.' [George Melies]


'It's funny how the colors of the real world only seem

really real when you watch them on a screen.'

[Anthony BurgessA Clockwork Orange]

'We love films because they make us feel something.

They speak to our desires, which are never small.

They allow us to escape and to dream and to gaze into the eyes that are

impossibly beautiful and huge. They fill us with longing.

But also, they tell us to remember; they remind us of life.

Remember, they say, how much it hurts to have your heart broken.'

[Nina LaCourEverything Leads to You]

'Movies touch our hearts and awaken our vision, and change the way we see things. They take us to other places, they open doors and minds. Movies are the memories of our life time, we need to keep them alive.' [Martin Scorsese]


The Secret Garden [2020]

Childhood reading memories follow you, sticking by you and impacting you into adulthood.

They are like your literary ‘imaginary friends;’ a nostalgic  and escapist comfort.

Mine include the Famous Five and Mallory Towers by Enid Blyton, The Nancy Drew series by Carolyn Keene, Anne of Green Gables by L.M. Montgomery, C.S. Lewis' The Lion, The Witch and The Wardrobe, and The Secret Garden by Frances Hodgson Burnett. 


So, when a new movie adaption of the 1911 children’s classic, The Secret Garden, starring Colin Firth, makes it to the big screen, it is a no-brainer to immerse oneself in a world of childhood reverie and recollection.


Every movie adaptation of a classic children’s book will have its own unique touches, but the general story arc remains simple and true to the original. 


The emphasis of this 2020 remake of the Secret Garden reminds me of G.K. Chesterton’s paraphrased reflection on fairy tales: “Fairy tales do not tell children the dragons exist. Children already know that dragons exist. Fairy tales tell children the dragons can be killed.”

The medium of story and a momentary world of escapism help the characters to make sense of the real world with all its unfairness, pain, fear and sadness. 


The movie’s setting starts with a prologue in colonial India, 1947, where we are introduced to Mary (Dixie Egerickx), the protagonist of the story. Orphaned, she is shipped home to England to stay in the care of her reclusive uncle, Lord Craven, in Yorkshire, England.  

The dark, haunting and sombre contrast of her new home, Misselthwaite Hall, and the magical and enchanting realism of the secret garden, (and the backstory memories of her mother), are the key ingredients for the movie’s storyline and the underlying emotional narrative. 

The message is simple:  “That’s the thing isn’t it. Loss changes people.” 

When the prison of pain and loss shackles the characters to a paralysing past instead of them celebrating the life of loved ones who are gone, they slowly die within themselves, forcing those around them to give up on life for fear of further loss. 


This is our introduction to Colin Firth’s character and that of his son, and it is the premise for Mary, a stray dog whom she names Jemima, and her friend Dickon, to transform all their lives and bring healing and hope through the discovery and wonder of a secret garden. 


The coming of age lessons in the Secret Garden are gentle and memorable. 


It is about not saying goodbye to childhood and the healing power of stories. It is about navigating a world of loss through the wonder of imagination. It is about escaping the ghosts of memory by embracing the captivating colours and magic of childhood. It is about abandoning what you had chosen to believe about the past and who you are. It is about not letting fear limit your joy. It is about friendship and hope and allowing memories to find the right place to land in your heart and mind. 

“If you look the right way, you can see that the whole world is a garden.” -Frances Hodgson Burnett, The Secret Garden

The tender and complex themes of grief and loneliness are sensitively interwoven with themes of compassion, curiosity and friendship, giving the movie a delightful charm as the visually magical secret garden becomes a character of its own and nurtures, heals and restores.


“The Secret Garden, as it always has, aims to open a gate for kids, a passage to a rejuvenating place that both validates and soothes adolescent fears too scary to handle unaccompanied.” -Tomris Laffly


We all need escapist moments of magic and wonder and The Secret Garden - in movie or book format - is exactly that. 

EMMA. [2020]

If you are an ardent Jane Austen fan, then it is hard not to love her story of Emma, written in 1815. 

It is also hard to think that another screen adaptation of Emma could be a success, especially after the 2009 BBC miniseries, which was fantastic! When I saw the trailer of the latest version, directed by Autumn de Wilde, I wondered whether this one might be trying too hard and would get it wrong.

Let me allay any concerns straight away. Without hesitation, I can say that Emma is simply wonderful - from beginning to end. It is elegant and charming - from beginning to end, and it is a visual delight - from beginning to end. 


The palette of gentle hues and colours, the idyllic landscapes, the ornate period costumes and the attention to detail are all completely captivating and a feast for the eyes. 

It is as if every scene is the most beautiful impressionist painting come to life and all you want to do is step into the painting. (If by some strange twist of fate you are not a die-hard Jane Austen fan, then simply go and watch the movie for this reason - you won’t be disappointed). 


Even though the plot has been simplified, the thread of Jane Austen’s original story is intact, and the script is sophisticated and witty, moving the plot forward at a pleasing pace. The casting is superb, with each character adding their own unique nuance and depth to the plot. 


I was determined to not like Mr Knightley in this movie adaptation (played by Johnny Flynn), as I simply adored George Knightley (played by Johnny Lee Miller) in the  2009 BBC miniseries. But I have to admit, and much to my surprise, I was won over as Johnny Flynn’s version is believable, endearing, and a true gentleman. 


Then of course, you have Mrs Bates (played by Miranda Hart) and Emma’s father, (played by Bill Nighy) - who absolutely shine in their comedic supporting roles, and take this movie to another level. Harriet Smith (Mia Goth), whom Emma has taken under her wing, is extremely lovable and winsome. 


Let’s talk about Emma Woodhouse (played by Anya Taylor-Joy) who is one of Jane Austen’s heroines and the reason for the story. In this version, Emma is consistent to her character, which for the most part, may seem one-dimensional. She does not try to make us love her, her flaws are not downplayed, and she does not apologise for her selfishness and snobbery, believing her motives to be good. As the plot progresses, her self-awareness of her destructive meddling comes slowly and subtly, as does the acknowledgement of her feelings and love for Mr Knightley.


Emma, as a romantic comedy, is simply wonderful and an absolute delight. The story is light-hearted and engaging, and if you are new to Jane Austen, you are likely to fall in love with her compelling characters and Regency England.   


I think Jane would be proud.

Watch the official trailer



Every movie is premised on a worldview and motivated by an agenda, and UNPLANNED is certainly no exception.

But when an agenda is based on a real life story - in this case, that of Abby Johnson, former director of the Planned Parenthood Clinic in Bryan Texas turned pro-lIfe activist - then it is hard not to be impacted by the power of truth and the reality of personal experience.


On one level, this is clearly a pro-life movie. Let’s get that out the way right at the beginning. On another level, however, ⅔ of the movie is seemingly dedicated to the polar opposite view - that of Planned Parenthood’s pro-choice agenda - as that is a big chunk of Abby Johnson’s bio. 


The pro-life ‘prayers’ and protesters who stalk the fence outside the Planned Parenthood Clinic - relentless in their commitment to their cause - are stereotypically displayed as weak, serious, narrow-minded, judgemental and pathetic, which is exactly how Abby would have viewed them as she diligently sought to do her job as director of the Planned Parenthood Clinic, and as a stubborn champion for women’s rights and for women in crisis. 


But pro-life or pro-choice, this movie is, at its core, about abortion - clear and simple. ‘Nobody ever said abortion was pretty.’ [Abby Johnson]

UNPLANNED has been labelled by liberal critics as an absolutist and extremist propaganda movie. 

No-one is denying their right, or freedom, to express that view, and it is certainly expected. That is the beauty of living in a society where freedom of press and freedom of speech are protected as a constitutional right. 

The irony for me however - (and I obviously come with my own personal framework and view on abortion and the rights of the unborn) - is that the facts and reality of abortion, as well as the merciless and mercenary clinical mission of Planned Parenthood displayed in this movie, cannot be construed as anything but ‘absolute’ and ‘extreme.’ 

This was Abby Johnson’s world for 8 years, and she has earned the right to speak of what occurred on that side of the fence, behind closed doors, and in procedure back rooms. 

On Abby’s first day as a Planned Parenthood volunteer, she is told by another volunteer: ‘Just distract any girl coming for an abortion from the harassing voices of the protesters. Make sure yours is the only voice she hears.’


Be warned, UNPLANNED does not shy away from the visually graphic details of the medical procedure of an ultrasound-guided abortion, as well as Abby’s personal experience of taking the chemical drug, RU-486, to induce an early stage abortion. Abby’s promotion to the POC room (Products of Conception room, sometimes referred to as the ‘Pieces of Children’ room) is in-your-face, hard-to-ignore reality. These and other scenes are the reason for the movie’s 16+ age restriction. Although disturbing and shocking, all these scenes are placed within a carefully constructed docudrama storyline. 


A sobering thought after watching this movie - left or right, liberal or conservative - is that we can all be ‘brainwashed’ or ‘indoctrinated’ if we impose our own self-righteous definitions of truth on reality, and when we rely on our personal interpretations of morality.


That is why absolute truth and facts can be so offensive. When faced with hardcore reality, which UNPLANNED forces us to do, it requires us to ponder our belief systems, tap into our consciences, and critically question our ‘politically correct’ worldviews.


After 8 years and 22 000 abortions on her watch, Abby resigned from her position as Clinic director after being faced with the visual horror of an ultrasound-guided abortion when asked to assist the doctor during the procedure. She is then threatened, sued and taken to court by the multi-million dollar industry that is Planned Parenthood.


From the statistics, there is no denying that there are thousands of young girls and women who, often in crisis, have had abortions. I applaud the directors of the movie in handling this aspect with much humanity, sensitivity and gentleness. For any who watch this movie who have had an abortion, you will realise you are not alone and that there is hope after abortion. 


After her resignation, Abby converts to the ‘other side’ and becomes a pro-life activist. She then says, ‘I need to go to the fence.’ 

For me, that is the foundational challenge in this movie:  ‘We need to go to the fence.’

The movie reinforces, in the face of undeniable medical facts of the unborn in utero, that the issue of abortion does not allow us to be ambivalent, apathetic, naive or gullible. We cannot sit on the fence. We have to decide which side of the fence we are on, no matter the repercussions. 


UNPLANNED clearly portrays abortion as a matter of life and death, and we cannot remain silent. The issue also extends way beyond a woman’s right to choose what she can do with her body. This is about the body and life of the unborn and who is going to speak for them. 

Even though you may need to overlook some ‘Christianised’ sentimentalism and anomalies, UNPLANNED is a movie that is likely to affect you at a deep emotional level, and you will need some time to process it. But it is definitely worth watching (for guys and girls), and will hopefully lead to some real and life-changing conversations.


Watch the official trailer

Click to listen to Matthew West’s song written for the movie, UNPLANNED.

Fiela se Kind [2019]

How do you write a move review when you have no words as a result of the movie leaving you speechless? 

If that has not persuaded you to go and see Fiela se Kind, (Fiela's child) - currently showing at Cinema Nouveau and based on Dalene Matthee's novel of the same name - then let me try with words. 

My judgement of this movie is purely on its own merits - I am not comparing it to the 1988 version which  I have not seen, but which comes with its own commendation. Just a disclaimer - my response to this movie is tinged with nostalgia as Dalene Matthee was part of my Afrikaans reading list in High School. 

There is also something quite special about watching a movie with subtitles - enabling a connection with and an appreciation of a language foreign to your mother tongue.

The setting for Fiela se Kind is 1865 and the arid Langekloof mountain region of the Karoo and the town of Knysna. The opening scenes are of Fiela Komoetie, a Coloured woman, finding a lost 3 year toddler on her doorstep and raising him as her own, naming him Benjamin. That is until the White census officials from Knysna discover him at the age of 9 and remove him from Fiela's family, as it is simply wrong for a white child to live with a coloured family. By order of the Knysna Magistrate, Benjamin is forced to live with the Van Rooyen's, a family of woodcutters in the Knysna forest, as he is allegedly their missing son, Lukas van Rooyen. 

The movie's plot develops with suspenseful gentleness and pathos, combined with powerful character nuances and contrasts that are masterful. (You will need tissues). The setting, locations and visual emotions tell as much of the story as the dialogue. Fiela (Zenobia Kloppers) plays a complex role with sensitivity, strength, credibility and integrity. 

This is a drama that powerfully and beautifully conveys the fierce all-consuming love of a mother who loves a child as her own and the impact that has on the family and the child. 

For the analytical over-thinkers among us, there are likely to be a couple of unanswered questions, but do not let that detract from a deeply moving and well-crafted story.  And you can always read the novel (which has been translated into English) where some of those questions might be explored in more detail - because as the saying goes: 'The book is generally better than the movie.'

Maybe it's because I am a mother, but Dalene Matthee's clever exploration and insights of a small part of life in South Africa in the late 19th century, through the medium of story, will challenge your thinking and settle in your heart. And in my opinion, Director, Brett Michael Innes, does a superb job of portraying and translating that visually through the medium of film.

I can only Imagine [2018]

I can only imagine is the true and personal story of Bart Millard (played by J. Michael Finley), lead singer of the Christian group, Mercy Me. It is his story and journey which led to the writing of Mercy Me's hit song, 'I can only imagine.'

This is not a movie you go to watch to be wowed by an excellent script or acting (although Dennis Quaid gives a superb performance as Bart's angry and abusive father). It is a movie you go to watch to be moved by the transforming work of God in people's messy and broken lives and to witness how powerful forgiveness and the words, 'I am sorry,' are. 

In an interview with Amy Grant in the movie (played by Nicole DuPort), Bart admits that the song lyrics took him only 10 minutes to write to which Amy replies, 'You didn’t write this song in 10 minutes.  It took a lifetime.' 


Bart's story takes us from an abused and rejected child, (who escaped into a world of dreams and imagination), to a teenager who escaped behind a mask and kept running from himself and others, to an adult who was forced to face his own fears and heart and see God's work of redemption in his life and in the life of his father. 

'My dad was a monster. I saw God take him from being the man I hated to the man I wanted to become.' [Bart Millard]

Goodbye Christopher Robin [2017]

Goodbye Christopher Robin is a poignant drama based on the memoirs of A.A. Milne's son, Christopher Robin.

It is the story behind the beloved story of Winnie the Pooh, but it is a story that is more than a story. 

It is about war and wonder and childhood and learning to see.

It is about figuring out a post-war world from the 100 Acre Wood.

It is about the innocence of childhood and its rightful place. 

Christopher Robin's words are significant: 'I want to be anonymous, like a real person.'

The story gives us a glimpse behind the scenes into the dysfunctional family life of the Milnes, highlighting A.A. Milne's (Blue's) relationship with his son, Christopher Robin (Billy Moon), and his socialite wife, Daphne. But it is the relationship with his son as well as the nanny's input into Christopher's life that offer up the tender moments.

The plot tends to be a bit disjointed and fragmented and although serious themes are touched on, they are not all fully developed. But overall, an engaging story into the reality of Christopher Robin's boyhood and for those who love the Winnie the Pooh classics, Goodbye Christopher Robin will be bittersweet. 

'My childhood was wonderful, it is the growing up that was hard.' [Christopher Robin]

Black Panther [2018]

When it comes to Marvel Movies, I am a complete novice. So my initiation into this iconic world of superheroes is Black Panther.  A good start. I can understand the hype - it is more than a movie - I get that.  It represents an ideology and a worldview.

It has all the ingredients for a successful story: Black empowered feminists; the arrogant bad guy, Ulysses Klaue, who is a white Afrikaner Captain Hook/one-armed bandit; the smart-mouthed antagonist, N'Jadaka, on a power trip; the American coloniser, Agent Ross, who is rescued and saved by Wakandans; a Disney philosophy : 'You can be whatever king you want to be;'  Nakia, the strong-willed and independent love interest; Princess Shuri, who brings some sassy comedic relief and of course, our reliable and likable protagonist and hero, T'Challa.  

For me, most of the characters were stereotypical and one dimensional, except for M'Baku, leader of the mountain tribe, the Jabari, who brings an interesting dimension to the plot, Okoye, the All Female Special Forces General and then of course, T'Challa, whose strength comes from his humaneness and hero qualities rather than from his superhero qualities which give credibility and a refreshing vulnerability to the plot.

A quote near the beginning of the movie proved to set the scene: 'It is hard for a good man to be king.'

The plot was fast paced and multi-layered with unpredictable and unexpected twists and turns. The cinematography and visuals were spectacular. The fighting and battle scenes were riveting, suspenseful and not drawn out. Each supporting character played a significant addition to the story, enriching it. Themes of loyalty, betrayal, family, sacrifice and patriotism will always have an audience. 

Spiritual motifs were prevalent throughout the movie: needing a saviour, ('Is this your king to lead you into the future? ' mocks N'Jadaka after stabbing T'Challa in the side and defeating him), praising the ancestors, calling on the ancestors and going to the ancestors. There were definitely Lion King overtones to the movie.


Ultimately it is the idea of the 'Wakandan Dream', a type of African Utopia, with its philosophy that 'The wise build bridges, the foolish build barriers,'  which I believe has movie goers riveted and people talking.

Ramona and Beezus [2010]

Ramona and Beezus is based on the best-selling books by Beverly Cleary. Nine-year old Ramona is unique. Her imagination, creativity  and enthusiasm for life result in the most endearing antics. Her love for her family and the sense of family values portrayed in the movie are one of  the highlights. 

This is one of my favourite 'family' movies for all ages. 

The wonder of childhood, the reality of sibling relationships and the beauty of family love and commitment are all illustrated through the various relationships and interactions among the characters as well as through life realities such as Ramona's dad losing his job, the death of a pet, a teenage romance between Beezus, Ramona's 15 year old sister, and Henry and Aunt Bea's relationship with Hobart.

Beezus: Ramona, you're your own person. You don't care about colouring in  the lines.

Ramona: It really depends on the picture.

My favourite scene in the movie is when Ramona is so frustrated at the family supper table that she announces she is going to say a really, really bad word. The family wait in indulgent anticipation as Ramona responds with, 'GUTS! GUTS! GUTS!'

'If you can't be brave on the playground, then how can you be brave when it really counts?' [Ramona]

This Beautful Fantastic [2016]

The title of the movie, This Beautiful Fantastic, is its best review: it is beautiful and fantastic. It is also charming and quirky and whimsical and delightful and endearing. Oh, and did I mention beautiful and fantastic? 

Idiosyncratic and orphaned Bella Brown - 'There was nothing normal about the girl' - dreams of writing and illustrating a children's book. By day she works at the library; her safe world surrounded by books.

When faced with eviction by her landlord for neglecting her garden, she meets her neighbour and nemesis, Alfie, a reclusive, embittered, grumpy and cantankerous old man, who happens to be a horticulturist. 

As their worlds and personalities clash, their friendship grows due to the delightful interactions of the supporting actors. 

As Alfie opens up the world of wonder and beauty of flora to Bella, she opens up his heart to joy and love.

The dialogue between the characters is witty and sophisticated and the performances are heartwarming. 

This Beautiful Fantastic has the feel of a real life fairy tale. The plot is predictable, but who cares when it is so beautiful and fantastic?

Bella: I only work there till my book gets published.

Billy: What's it about?'

Bella: It's a children's book. It doesn't really have a story at the moment.

SKIN [2008]

SKIN is a complex biographical drama which is hard-hitting and disturbing. There is not much relief from the harsh reality of Apartheid's impact on one family - especially on their daughter, Sandra, who becomes not only an outsider in her community because of her skin colour, but ultimately in her family.  Born into a South African white family in 1955, Sandra looks coloured and at the age of 10 is legally classified as 'coloured.' Her father fights the system to have her reclassified as 'white.'

After falling pregnant at the age of 16 by her black boyfriend, Petrus, and being jailed for 3 months due to the illegal nature of their relationship, she is rejected by her father and begins a life with Petrus and his family. She has two children with Petrus, all the while longing for reconciliation with her family. In order to keep her children, she legally becomes reclassified as 'coloured,' but increasingly finds herself an outsider. 

Ironically, it is the words of her father to her as young child, 'Never give up,' which keep her persevering.

The film follows Sandra’s thirty-year journey from rejection to acceptance, betrayal to reconciliation, as she struggles to define her place in a changing world. The movie portrays the emotional ramifications of the Apartheid ideology which literally tore a family apart, on so many levels, even to today.  

In 1994 when Sandra was interviewed by the press, she said, 'Today is a happy day for South Africa, but it is too late for me.'

Because of Winn Dixie [2005]

'Everything good that happened that summer happened because of Winn Dixie.'

Based on the novel by Kate DiCamillo, Because of Winn Dixie is the charming story of a young girl, Opal's, relationship with a dog and her emotionally distant father who is a Preacher.

As Opal and Winn Dixie journey through the small southern town that is their new home that summer,

their interactions and friendships with the locals create a renewed sense of community through the discovery of some insightful life lessons.

Because of Winn Dixie sensitively and gently deals with some significant issues such as abandonment, alcoholism, death of a loved one and change. This is balanced with the most delightful moments of humour.

'Winn Dixie and Opal weave through the small town like a needle and thread repairing a patchwork quilt.'

The Book Thief [2013]

'I make it a policy to avoid the living. I don't know what it was about Liesel, but she caught me...and I cared.'


This opening line by Death, the narrator in The Book Thief, introduces us to 11 year old Liesel, sent to live with Hans and Rose, foster parents in Nazi Germany during WWII. Based on the book by Markus Zusak, the Book Thief is a haunting and heart-breaking historical drama. 

Hans teaches the illiterate Liesel to read and write and this love for reading and writing is further fostered by Max, a Jew being hidden in Hans and Rose's basement where he tells her that 'words are life.'

Aspects of humanity such as self-sacrifice, loving your neighbour, compassion and friendship are simply portrayed in the movie. From a philosophical point of view, deep ethical issues are raised. 

'It's always been the same. The excitement and rush to war. I met so many young men over the years who have thought they were running at their enemy, when the truth was, they were running to me.' [Death]

The Book Thief is a movie about living within the parameters of war. It captures the innocence of youth played out amid the horrors of war. This is seen in the beautiful friendship between Liesel and Rudy. 


'In my job, I'm always seeing humans at their best, and their worst. I see their ugliness, and their beauty. And I wonder how the same thing can be both.' [Death]

Belle [2014]

'What is right can never be impossible.' [Sir John Lindsay]

The historical period/costume drama, Belle, is inspired by the true story of Dido Elizabeth Belle, a mixed race (mulatto) illegitimate woman trying to find her place in 18th century society. Belle is taken in by Lord Mansfield, her aristocratic uncle on her fathers' side. He is also a prestigious judge involved in presiding over a controversial case involving slaves who were dumped en masse into the sea to lighten the ship's load.

Belle's lineage allows her certain privilege, but her status prevents her from certain societal restrictions.

The socio-political issues of slavery and race create the conflict and the story is further complicated by the romance between Belle and the principled John Danvier, an abolitionist.

The value and dignity of all human life, regardless of status or skin colour and the fight to end slavery in England, are beautifully and clearly portrayed in this movie.

'Laws that allow us to diminish the humanity of anybody are not laws.' [John Danvier]

McFarland USA [2015]

'Welcome to McFarland. This is a farming town. These kids working here are invisible. They come from the fields and they go back to the fields. These are good kids, smart kids. They just need a chance at a better future. Mr. White, if we're going to reach them, now is the time.' [Lupe]

McFarland USA is not your typical sports drama. This inspirational movie is based on actual events. A sense of realism and heart is portrayed via the issues of prejudice and discrimination in the poverty-stricken Mexican-American farming community of McFarland. The year is 1987. Coach Jim White (played by Kevin Costner) comes to McFarland to coach football but ends up coaching 7 Hispanic teenagers into competitive cross country runners.

This humbling true story shows what possibilities can take place through perseverance and sacrifice. The movie portrays the importance of families and the strength and support of community.

'No-one stays in McFarland unless they have to. There 'aint nothing American dream about this place.' [Thomas]

Hidden Figures [2017]

'Genius has no race. Strength has no gender. Courage has no limit.'

HIDDEN FIGURES tells the remarkable story of Katherine Johnson, Dorothy Vaughn and Mary Jackson, three African-American women employed by NASA as human computers. They were the brains behind the launch of John Glenn into orbit during the Space Race with Russia from 1961-1962.

Even though the Maths and Analytical Geometry in the movie were way beyond my capabilities, I could not help being amazed at the beauty and wonder of the numbers and the minds of these three women, persevering and serving amid the racial injustice they faced during that time in American History. 

There are two stories intertwined: the Space race story and the human story of prejudice and discrimination. The latter is portrayed gently, honestly and with poignant humour through the three portraits and personalities of Dorothy, Mary and Katherine, who work with the status quo to determinedly and respectfully make their voices heard. 

Mary's husband, Levi,  says, 'Freedom is never granted to the oppressed. It's got to be demanded. Taken.'

Mary responds, 'There's more than one way to achieve something.'

A United Kingdom [2016]

I don't know when last I have seen such a beautifully crafted and inspirational movie, so simply told.

A UNITED KINGDOM is based on the historical account of the marriage between King Seretse Khama of Bechuanaland and Ruth Williams, a white British woman in 1948 and the political upheaval that ensued. The main theme of the purity of their love and commitment, against the odds, is beautifully portrayed.

The movie also explores the prejudice from both sides.

'Let us not allow the ugliness of this world to take our joy away from us.' [Seretse Khama]

The British tell a subtle and powerful story when making a movie. A United Kingdom is a movie about integrity and perseverance and it will challenge your thinking and move your heart.

The careful and sensitive blend of history and humanity make this movie gripping viewing.

'I am told you no longer wish for me to honour my duty as your king because of the colour of the wife I have chosen...I am ready to serve you because I love my people. I love this land. But I love my wife.'

[Seretse Khama]


The Man Who Knew Infinity [2016]

A beautifully told story, an excellent script and superb acting by Jeremy Irons and Dev Patel make

THE MAN WHO KNEW INFINITY worthwhile viewing.


The movie is based on the untold story of one of the greatest minds of his generation, Srinivasa Ramanujan, whose genius for mathematics takes him from the slums of India to Cambridge University in the early 20th-century. Spurred on by his mentor, G. H. Hardy, Ramanujan overcomes racism and the rigidity of academia to revolutionize the field with his startlingly original theorems, which he attributes to divine inspiration.


Even though I am no mathematician, I found the movie inspiring, absorbing and very moving.

'They must be true because, if they were not true, no one would have the imagination to invent them.' 

[Robert KanigelThe Man Who Knew Infinity]

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