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“Lobola Man” Review: Thabang Moleya’s Romcom is a Breeding Ground of Cliches

“Lobola Man” Review: Thabang Moleya’s Romcom is a Breeding Ground of Cliches

Lobola Man

Lobola Man is one of those films that are obsessively watched and swiftly forgotten.

By Seyi Lasisi

Watching Thabang Moleya’s Lobola Man and following its impressive streaming records (making Netflix’s Global Top 10 list from July 8th to 14th), I’m reminded of how South African filmmakers continually dominate Netflix with their near–excellence productions.

Reflecting on the South African titles I have seen over the years: Blood and Water (2020), Savage Beauty (2022), How to Ruin Christmas (2021), Fatal Seduction (2023), Miseducation (2023), Jewel (2022), Tsotsi (2005), Catching Feelings (2017)  Big Nunu’s Little Heist(2023), and others, I’m reminded,  again, of how South African filmmakers are strategically changing their country’s identity as a settlement into a township.

From positive and admirable LGBTQ representation, aesthetically–pleasing locations, and steamy scenes to admirable shots, the South African film industry is posing itself for global appeal. The streaming records and Netflix’s investment in the industry are also a clear indication of how successful this conscious inclusiveness is in helping the film industry.  

Written by Katleho Ramaphakela, Lobola Man follows the quite lethargic story of Ace Ngubeni (Lawrence Maleka), a professional lobola man, a hired negotiator of bride price. In South Africa, as in other African countries, the groom’s family pays a price to the bride’s family before marriage. And Ace, a chronic womaniser, is a skilled and in–demand lobola man. From childhood, love and commitment have been successfully imprinted on young Ace’s mind as an unattainable concept. 

Thanks to his adulterous and irresponsible father, who takes him to his sexual rendezvous, Ace learns about philandering and noncommitment. Quite ironic, Ace helps couples solidify their commitment but he’s not in a stable relationship. That will change when he’s hired by Duke (Vincent Mahlangu), a shy tech CEO, to negotiate his lobola for Zandile (Kwanele Mthethwa), an outspoken and opinionated lady. 

Lobola Man
Lobola Man

Before meeting Duke, Ace’s path has crossed with Zandile, and a possible rescinding of his non-commitment life is building. Duke, in an unarticulated relationship with Rachel (Sthandile Nkosi), his assistant, is ashamed of associating himself with his family due to his supposed belief that Mr. Zungu (Nimrod Nkosi), Zandile’s father, won’t approve of them.

Recently, South African filmmakers have tapped into aspects of their cultural heritage and customs and adapted them for a modern audience in a bid for cultural education and entertainment. Written against a dominant South African tradition, Moleya’s Lobola Man espouses the complexities of the lobola tradition: its cultural significance, associated scams, and importance. 

More than a gifting of money or cattle, in ancient times, to the bride’s family, the lobola ceremony is a way of building intimacy between two families. Additionally, it’s an avenue for the groom and bride’s family to lay bare their expectations from the marriage. 

Similar to Lobola Man, Lufuno Nekhabambe’s directorial feature film, Musangwe, adopts a cultural practice in South Africa called ‘Musangwe’. It is an ancient traditional bare-knuckle outdoor boxing ceremony and competition with unique socio-cultural and historical relevance. 

As a cultural practice, it prepares young men for the rigors and towering responsibilities of defending their community.  Another title with a visible cultural adoption are Jahmil X.T Quxeba’s The Queenstown Kings (2023) and Andy ‘Admiral’ Kasrils’ Big Nunu’s Little Heist (2023.) In both productions, some characters are totems of ancient wisdom and culture. Slightly patterned after these films, Lobola Man treads a familiar route by appropriating and tweaking its country’s traditional history and telling a story set for a modern setting. Yet, this approach reveals its inherent flaw.

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still from Lobola Man
still from Lobola Man

Striving to tell an authentic South African story, the film adorns itself with familiar garments. Some commonplace comic scenes and characters fail to register humor due to how drained they are. The drunk uncle, the gambling-addict uncle, and the eccentric aunt are clichéd characterisations frequently seen in South African productions. 

Over time, the image of the bottle–loving uncles and unabashed aunties are bankable harbingers of laughter. Katleho Ramaphakela and Rethabile Ramaphakela‘s How To Ruin Christmas (2021) and How To Ruin Love (2024) are littered with these humour–inducing characters.  However,  despite its propensity for inspiring laughter, Moleya’s use of these familiar traits in Lobola Man sacrifices its key strength: originality. While Ace’s story has its commendable aspects, the film is bogged down by clichés.

In the end, Lobola Man is one of those films that are obsessively watched and swiftly forgotten. Like Duke grappling with an identity crisis, the film struggles with its own purpose and message.

Rating: 1.8/5

(Lobola Man is currently streaming on Netflix.)

Seyi Lasisi is a Nigerian creative with an obsessive interest in Nigerian and African films as an art form. His film criticism aspires to engage the subtle and apparent politics, sentiments, and opinions of the filmmaker to see how they align with reality. He tweets @SeyiVortex. Email: seyi.lasisi@afrocritik.com.

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