We’ve been under-served queer stories of young black women so much that when a movie as charming as “Black Burns Fast” comes along, you almost feel a little in disbelief that it exists.
“Black Burns Fast” tells the story of 17-year-old Luthando, an adorkable and bookish teen who finds herself drifting between reality and her vivid inner world. She returns for another year at a prestigious South African all-girls’ boarding school, when her world gets turned upside with the arrival of Ayanda, a bold and effortlessly magnetic new student.
The movie goes on a journey delving into not only what the coming-of-age experience looks like, but also the struggle that comes with juggling multiple identities, all while hoping to avoid rejection by her mother and schoolmates as she comes to terms with her sexuality.
You wouldn’t say that “Black Burns Fast” is a debut feature by writer-director Sandulela Asanda, because there is real emotional and narrative truth to the arc that Luthando goes on, which could easily come across as trite or stereotypical.
We get a new film that has been added to the South African queer film canon not only by the virtue of its existence, but rather because it will be hailed in years to come for its essence and what it has to say.
The film easily pulls you into its world with its charm, and humour, which has always been one of hallmarks of good South African cinema, where not only do we become invested in who Luthando is, but also what she has to say.
While part of this is attributed to the writing and the casting by producer Cait Pansegrouw, it also feels like credit has to be given to Esihle Ndleleni. She is so effervescent as Luthando that her charisma and comedic timing match well with the nervousness and awkwardness that comes with being a teen.
She captures the experience of being the token Black pupil placed on a pedestal for white people to feel accomplished with biting accuracy. This will be an experience too many will relate to.
It also feels pertinent to commend the cast who are really good and build chemistry with one another, and keep you invested in the full 96-minute run-time of the movie.
Asanda has said that each girl in Luthando’s friend group represents a facet of what it is like to be a teenage girl.
“It's in how Anele’s boyfriend is pressuring her to have sex; Zenande’s obsession with her looks and the unique bond Luthando has with her best friend, Jodie. Through them we see what it is to be young and naïve in a world that doesn’t allow them to be,” Asanda said.
I agree, this is one of the movie’s strongest achievements in playing into the youthful joy, cattiness and messiness of young teen girls while being faced with the pressures of being held to a higher standard.
Maudi Ilung really stands out as Ayanda, while Mila Smith keeps what could be an overlooked role interesting. I really enjoyed what Khensani Khoza did as Zenande because while she fits the mean girl in charge archetype, her role is more than that, and she has an unexpected tenderness while still not shying away from that chaotic messiness she can have.
The director, along with the film’s editor Kayla Kahan, deserve credit for keeping the narrative coherent while building on that fun energy which takes a more dramatic turn in the second half of the film. That slight shift in tone could have been jarring.
If there is criticism of the film it is rather a personal preference. I do wish the film had carried over some of the gamification aesthetic into the second half of the movie instead of dropping it. It was a noticeable omission and I do think there was a better way of carrying that over.
The movie could have actually leaned more into it, as it would have helped it stand out more, but I do also understand the concern of viewer accessibility.
I do want to also point out the enjoyable cinematography of Pierre de Villiers because the scene where Luthando lays eyes on Ayanda, is a very bold swing and could have fallen flat but it works.
The other scenes with the pink lighting could also have been jarring but they really carry through the film’s narrative themes.
I also understand why the movie has a lighter ending than expected, because too much of the queer experience on film is tainted by queer pain and violence, but it does unfortunately undercut Luthando's narrative growth.
I feel that another pass of dialogue re-write could have made the scenes towards the end hit harder.
Overall, this is a very solid film that South Africans should not only be proud of, but also continue to support by showing up in local cinemas.
★★★½ (3.5/5): Charming, endearing and definitely the type of movie that we need to see more of.
theolin.tembo@nationalmg.co.za