The film 'Black Burns Fast' presents the story of seventeen-year-old Lutando, a bookish and sweet teenager who balances between reality and her vibrant inner world. The creators note that there has been an underrepresentation of young Black women in the queer genre, making the appearance of such a charming film surprising.
Lutando returns to a prestigious girls' boarding school in South Africa the following year, where her life is turned upside down with the arrival of Ayanda—a bold and captivating new student. The film explores not only the experience of growing up but also the difficulties associated with managing multiple identities, as well as the desire to avoid rejection from her mother and classmates while she accepts her sexuality.
Director and screenwriter Sandulela Asanda created a work possessing genuine emotional and narrative truth in Lutando's arc, setting it apart from trivial or stereotypical productions. This film is added to the canon of South African queer cinema not just because of its existence, but because it will be valued for its substance and message in the future.
The film easily immerses the viewer in its world through the charm and humor that have always been hallmarks of good South African cinema. Viewers become engaged not only with Lutando's character but also with her statements. 'Black Burns Fast' premieres in local cinemas on July 31st.
Producer Kate Pansegrow, as well as Esile Ndleleni, who deserves great credit for her writing and acting, deserve attention. Esile Ndleleni embodies the image of Lutando so vividly that her charisma and comedic timing perfectly match the nervousness and awkwardness of adolescence. She accurately conveys the experience of Black students who are placed on a pedestal to satisfy the desires of white people.
The actors who demonstrate high quality of performance and create strong chemistry, keeping the viewer engaged throughout the 96-minute runtime, should also be noted. Asanda emphasized that each girl in Lutando's circle of friends personifies a certain facet of a teenage girl's life. He noted: 'In the way Anele's boyfriend pressures her, in Zenande's obsession with her appearance, and in Lutando's unique bond with her best friend Jody. Through them, we see what it is like to be young and naive in a world that does not allow it.'
The author agrees that one of the film's strongest achievements is the depiction of the youthful joy, boldness, and chaos of young girls facing the pressure to meet high standards. Maudie Ilung stands out in the role of Ayanda, and Mila Smith delivers an interesting role that could have been overlooked. The author highly praised Kenshani Khoza's performance as Zenande, noting that despite the 'villainess' archetype, her role is deeper and contains unexpected tenderness while maintaining chaos.
The director, along with editor Kayla Kahan, deserves praise for maintaining narrative coherence and developing a fun energy that later takes on a more dramatic tone in the second half of the film. This slight shift in tone might seem abrupt. The criticism of the film is rather personal. The author regrets that the film did not utilize gamification aesthetics in the second half instead of abandoning it, as this was a noticeable omission. However, the author understands concerns regarding audience accessibility.
The pleasant cinematography by Pierre de Villiers should also be noted; the scene where Lutando first sees Ayanda is a bold move that could have failed but succeeded. Other scenes with pink lighting could have been jarring, but they support the film's narrative themes. The author also understands why the ending turned out brighter than expected, as too much queer community experience in cinema is overshadowed by pain and violence, which unfortunately weakens Lutando's development.
Overall, this is a very solid film that South Africans should be proud of and continue to support by attending local cinemas. The film received a rating of 3.5 out of 5.
