A film where the personal and the political collide in a way that could have been done better in the Collision Series. In Collision, tensions from the post-Apartheid era are brought to the surface, promising much. In this personal-meets-political drama, the execution could have been better.
The emotional and political collide in a film that should have been better accomplished A diverse cast of characters inhabits the world of Collision, a film shot in multiple languages and starring a range of South African actors. We observe a country in transition, still grappling with the legacy of apartheid, via the intertwined stories of the protagonists. Angry and resentful, the average black South African feels cheated of their due.
An important white business character claims that “you know how it works here,” referring to the high rate of crime and theft (in reference to the bribes required to get things done). Gangs rule the roost on the streets of Johannesburg, making it one of the most dangerous cities in the world.
The youngsters in these working-class neighborhoods are growing increasingly dissatisfied. They fear losing their jobs as a result of the surge of illegal immigrants, most of whom are from Nigeria and Zimbabwe.
Turkeys on Netflix India.
Fabien Martorell is the director. Tessa Jubber and Bonko Khoza round out the cast. A total of 1:39:39 elapsed time | American Sign Language Craft and competence in South African Netflix productions are comparable to those of Turkeys on Netflix India. Americans’ tendency to see non-American countries more like a market than culture is demonstrated here.
As the Rainbow nation’s newest film and an attempt to appropriate Crash, Collision is an uneven and meandering thriller that fails miserably to engage the audience on any level other than a superficial one (2004). There are several stories and personalities in this film that “collide” on Freedom Day in downtown Johannesburg.
This Event Serves as The Film’s Beginning and End.
With only seconds to spare, socialite Johan and corrupt white businessman Johan race to save their teenage daughter Nicole from an evil mobster. After apartheid ended in South Africa, a racist ex-army veteran named Johan now feels like a victim. Nicole’s boyfriend Cecil and his shady closest friend are in a different automobile. Nicole is caught in the hood of Bra Sol’s automobile in the third car.
Anarchy reigns in other parts of town as shopkeepers prepare to murder “foreigner” Nigerians for allegedly taking their customers; the mob’s leader is a guy who discovers that his daughter is trapped in the supermarket they are burning with her Nigerian boyfriend. When it comes to the plot, Collision is about too many things and people, a civilization at war with the future as much as it is at war with its history. This is a futile and virtually self-defeating film because the wealthy white Afrikaan-speaking wealthy white family is given an opportunity of atonement through crises, while the Zulu-speaking natives find themselves in the crosshairs of historical oppression.
The Film’s Claims.
Despite the film’s claims to the contrary, it may be argued that this is a fairly accurate depiction of reality. That dysfunctional family is also at the heart of what should have been an expansive film, and it is hard to escape the impression that it is the film’s focus. An important part of Collision is the father’s animosity toward a company because of its BEE (Black Economic Empowerment) corporate strategy. His entitlement (his sister-in-law is CEO) is intriguing until his narrative is forced to change tracks and become an actual repentant savior.
It’s a shame that the relationship between the daughter of a spaza shop owner and the young Nigerian worker feels rushed because theirs is one of the most thought-provoking in the film’s narrative. As watchers of international Netflix productions like these, I’m always on the lookout for the right balance between education and engagement, and this dispute they had makes bare the inherent tensions and infighting within Africa. A respectable cast, primarily Zoey Sneddon as Nicole, but the writing is so generic and patched-up that none of them get a chance to shine.
Collision Makes Me Wonder.
Collision makes me wonder if it is possible to balance universality and particular in stories that owe their location in the world a sense of truth. Critics in India, the United States, or any other country may not be able to discern the subtlety of the various languages and voices that fill every frame. I was only beginning to understand the underlying tensions in South African society when I visited the country for the first time.
The visual and narrative language, on the other hand, is clearly derived. While the movie strives too hard to express these colors to foreign audiences, the vicious loop of locals treating ‘Black outsiders’ as the minority Whites treat them is engrained in the settings. Ironies like these derail movies like Collision. Which of the three cars displayed here represents Netflix is a mystery to everyone.
The Trailer of Collision.
Netflix will premiere the film. In the meantime, enjoy this teaser trailer.