Umjolo: The Gone Girl is another addition to Netflix’s growing list of underwhelming African films.
By Joseph Jonathan
One thing that has been consistently evident in a lot of South African films and television series is the often chaotic nature of their plots, where coherence is sacrificed for dramatic effect or multiple themes are tackled without being fully explored.
Unfortunately, this trend has become a hallmark of local storytelling, leaving viewers to piece together fragmented plots. Hence, as I watched the Fikile Mogodi-directed romantic comedy, Umjolo: The Gone Girl, I expected something different but I was in for a surprise.
Written by Thuli Zuma, Umjolo: The Gone Girl centres on two couples: Lethu (Shezi Sibongiseni) and Lucky (Tyson Mathonsi), and Bridget (Gugu Gumede) and Themba (Ntando Mncube), as they navigate love, trust, and deception.
The story unfolds when Lethu uncovers a shocking truth about her partner, compelling her to reassess their relationship. As tensions escalate, parallels emerge between the two couples’ struggles with infidelity and loyalty. The film delves into themes of betrayal, self-discovery, and the complexities of human relationships.
While the film attempts to explore themes of self-discovery and personal growth, it ultimately falls short due to uninspired and shallow writing. The narrative is overly reliant on explicit sex scenes, prioritising titillation over substance and failing to meaningfully examine the complexities of relationships.
This lazy approach offers no fresh perspectives or insights, leaving the film feeling like a wasted opportunity. By leaning on tired, overused tropes, the story sacrifices its potential to delve into the genuine challenges of love and relationships. The imbalance between its messaging and meaningful storytelling results in a disjointed narrative lacking depth.
With greater attention to storytelling and less reliance on exploitative content, this film could have been truly memorable.
Another failing of the plot is that it falls victim to typical stereotypes surrounding relationships. When Lethu discovers Lucky’s infidelity, she seeks refuge in her village, only to be met with her grandmother’s words of wisdom.
However, her grandmother’s advice — likening leaving a relationship due to infidelity to abandoning one’s hometown because of rain, especially since it rains everywhere — inadvertently perpetuates a problematic narrative. This sentiment shifts the focus away from the perpetrator’s actions and onto the victim’s decision to stay or leave, potentially undermining the agency and autonomy of individuals in abusive or unfaithful relationships.
As far as acting performances go, Umjolo: The Gone Girl boasts measured performances. Sibongiseni delivers a convincing portrayal of Lethu, bringing a sense of sincerity to the role, with her emotions conveying a profound sense of betrayal and heartache that feels both relatable and emotional.
Mathonsi is adequate as Lucky, offering a subtle effectiveness that, while understated, fits the character well. Mncube and Gumede also perform well as Themba and Bridget, respectively, drawing upon their comedic talents to provide some much-needed comic relief.
Despite the disappointment of the plot, the film’s technical aspects deserve commendation. The cinematography is impressive, with well-crafted camera work that adds significant visual appeal. The framing, lighting, and composition come together seamlessly, creating a visually stunning experience. As expected of South African films, the locations and scenery are a visual delight, showcasing various picturesque areas that highlight the country’s natural beauty.
The production design also warrants recognition, with attention to detail evident in the set design, costumes, and overall aesthetic. Furthermore, the sound design and score are noteworthy, enhancing the emotional impact of key scenes.
While Umjolo: The Gone Girl offers a refreshing change from recent South African productions’ emphasis on violence and gore, its lacklustre writing and prioritisation of style over substance ultimately leave viewers with a shallow and unfulfilling experience.
The story fails to engage the audience, feeling more like something written by a group of high school students. Ultimately, Umjolo: The Gone Girl is another addition to Netflix’s growing list of underwhelming African films.
Rating: 1.5/5
Joseph Jonathan is a historian who seeks to understand how film shapes our cultural identity as a people. He believes that history is more about the future than the past. When he’s not writing about film, you can catch him listening to music or discussing politics. He tweets @JosieJp3.