Chanda’s mother Lillian ought to have more energy. Everyone pretends it is nerves or some such ailment, but this is just willful denial. Everyone realizes what she has and understands she more than likely contracted it from Chanda’s absentee stepfather Jonah, who is now determined to drink and sin his way into the grave. Unfortunately, AIDS does not work that way.
In Chanda’s hardscrabble village outside Joburg, AIDS is not the only social pathology to contend with. Prostitution is considered the only means of survival for her shockingly young looking best friend Esther. Of course, this also involves the very real and present danger of infection.
Above is a blistering indictment of the superstitious prejudice and misogyny rampant in South African townships that forces patients into seclusion rather seeking life prolonging treatment, or at least a relatively comfortable death. Yet, despite the film’s palpable anger, it never lobs cheap shots at the church. In fact, Sunday services are presented as a rare moment of peace for Chanda.
Khomotso Manyaka’s fully dimensional portrayal of Chanda could well become iconic in South Africa. Despite the courage and tenacity she projects every step of the way, the audience remains keenly aware she is still just a vulnerable young girl. Yet, for pure hard-won pathos, Keabaka Makanyane’s Esther might even outdo her.
Re-emerging from years spent working in German television (in prestigious capacities), Oliver Schmitz returns to the sort of topical cinematic naturalism that made his breakout film Mapantsula the toast of the international festival circuit. Yet, that earlier work was very much a product of its era. In contrast, Above has a Dickensian quality that should hold up over time.
