Voting will be open from 12:00 noon on 21 August and close again at 13:00 on 28 August 2023. Voting results will be announced during the AGM that afternoon. The following members have been nominated:
Adrian van Wyk
Adrian Van Wyk is a filmmaker/creative producer and cultural historian from Cape Town, South Africa. He completed a MA in History at Stellenbosch University. His dissertation, titled “From Jamaica to the Cape Flats: Reflecting on the manifestations of a Cape Town Hip Hop Culture”, unpacked the diasporic movements of Hip Hop culture onto the Cape Flats periphery of Cape Town. This research laid the foundation for the documentary feature film he is currently co-Directing and producing titled “Notes From The Underground: A Cape Town Hip Hop Story”, which has received support from the National Film and Video Foundation. This film forms part of a feature film slate currently in collaborative development with Azania Rizing Productions. Adrian has previously been nominated by the Mail and Guardian as one of the top 200 South Africans in the arts and culture sector for his work creating platforms for cultural expression around the country. In 2023, a documentary short film that he researched and produced titled “What The Soil Remembers” had its world premier at International Film Festival Rotterdam (IFFR) where it was also awarded the Ammodo Tiger Short Award. Alongside this, “What The Soil Remembers” has recently won the Best International Short Documentary at the Regina International Film Festival and Awards. Adrian was selected as an artist in residence by the Singapore Art Museum for 2023 where he is writing a feature film he will direct titled Bedrock, set in the Northern Cape of South Africa.
Motivation: Thank you for considering me for the DFA board opportunity. One of my core aspirations is to pave a way for budding documentarians, particularly those wanting to connect with the intricate filmography of South African cinema. I’m enthusiastic about contributing to the establishment of pathways through which filmmakers can readily access the support they require. By doing so, we’re not merely facilitating their growth, but we’re also nurturing a dynamic environment where new generations of storytellers can confidently take center stage, strengthened by a platform of unwavering support. In this endeavor, I also envision a surge in screenings and discussions spanning the entire country. The thought of individuals immersing themselves in a Filmography that intimately captures the essence of South African cinematic creativity is exciting. These interactions can transcend mere viewing experiences; they can kindle dialogues, broaden perspectives, and provide a deeper connection with the local filmic landscape.
Yet, the horizons stretch even further. My aspiration extends to establishing robust global networks and opportunities. Opening up avenues that can see a Documentary delegation from South Africa, armed with their exceptional projects and films, making waves on esteemed international platforms like Sheffield Docfest and DMZ Documentary Film Festival. This isn’t just about gaining recognition; it’s about augmenting the global footprint of South African filmmakers, firmly etching our narratives to an international audience.
The time has ripened for fresh voices to reverberate through the South African film industry. In this juncture, DFA stands uniquely positioned to be the catalyst, propelling these aspirations into reality. I am genuinely excited about the prospect of working alongside the board to usher in a new era of innovation, inclusivity, and impact.
Alette Schoon
Alette teaches documentary filmmaking to a new generation of primarily Eastern Cape future filmmakers and journalists at Rhodes University in Makhanda and has done so for nearly 20 years. Her students have managed to rake in several awards including the Berlin Prix and the Oscar for best documentary. She’s really interested in working with communities to share mobile filmmaking skills and has run several workshops on this topic. She has collaborated with local Eastern Cape youth organisations such as Upstart Youth, Black Power Station, Makhanda Hip Hop and The Youth Hub to promote both documentary filmmaking and our Xhollywood Project to make short mobile fictions in isiXhosa. Before coming to Makhanda Alette worked as a director in Joburg, mainly at Kagiso Educational TV, but also at Mail & Guardian TV and Ochre Films.
While she does not have much time to make her own films these days, she is still super keen to put Eastern Cape stories out there and recently collaborated with the storyteller-academic Hleze Kunju and Eastern Cape historian Jeff Peires to make a film about the Intellectual Giants of the Eastern Cape. It was shown at several conferences and during the Africa Day screening at the Zanzibar International Festival and also screened at docLOVE! Alette has loved collaborating with Eastern Cape DFA representative Sivu Giba this year to bring DocLOVE screenings to the Eastern Cape.
Areas I would like to focus on: DocLOVE screenings and any DFA outreach projects, assisting DFA with ethics research
Motivation: Working with the DFA over the past year and introducing the organisation to my students has been a wonderful experience as we are so isolated from the industry here in Makhanda. I would like to help bring more DFA activities and screenings to the Eastern Cape, not only to expose our new and established filmmakers to industry expertise, but also so that our industry can become more aware of the fantastic skilled people and stories this province can contribute to our industry.
Arya Laloo
Active in the film industry since 2006, Arya Amber Lalloo is a multi-disciplinary South African filmmaker based in Johannesburg. She has written and directed shorts, music videos and factual programs as well as the feature documentary Jeppe on a Friday (co-directed with Shannon Walsh). As an editor she has contributed to the award-winning feature documentaries The Giant is Falling and Everything Must Fall (dir Rehad Desai) and was production designer on Rafiki (dir Wanuri Kahiu) the first Kenyan feature film to be selected for competition at the Cannes Film Festival. Arya acted as Consulting and Archival Editor on Milisuthando (dir Milisuthando Bongela) which premiered at Sundance. She has also worked within the broader arts and culture environment, including an appointment as the artistic director of the large-scale public arts initiative “Michel Gondry’s Home Movie Factory in Johannesburg” and programmer of the Global South focused “People to People International Documentary Conference”. She is currently developing the feature essay “A Girl and A Gun” supported by the IDFA Bertha Fund in development and “Paradisis” her first narrative feature film.
Motivation: I appreciate the nomination to stand for the Documentary Filmmakers Association board and I’m eager to contribute in whatever way I can to the ongoing growth and evolution of our already thriving community. At this time of tremendous flux in our own sector and the broader world it reflects, I believe that collaboration, dialogue and community are key to sustaining the form and its practitioners into the future and respect the DFA’s long standing efforts in this regard. Thank you for your consideration and look forward to being of service if appointed.
Karin Slater
In 2020, Karin Slater, was invited and honoured as a lifetime member of The Academy and acts as a judge of the Oscars Documentary Branch. Her deep interest in nature has led her to documenting the lives of interesting people and wilderness areas across the globe over the last 30 years of working as a documentary filmmaker and cinematographer. She’s raised two leopards and lived with a lioness, cheetahs and tigers while making wildlife documentaries. Her films have screened at Sundance, Berlinale, Hot Docs, Wildscreen, Museum of Modern Art in New York and she has won numerous awards including the Trailblazer Award for innovative and creative work in the field of documentaries at Mipdoc, Cannes 2008 and at the New York Film and Television Awards in 2016, Best Feature Length Documentary at the Innovative Film festival in Switzerland in 2019. She has been commissioned by National Geographic, Animal Planet, BBC, Disney, Discovery and Al Jazeera. She’s also a published photographer, teaches the art of documentary filmmaking and currently serves as co-chair of the Documentary Filmmakers Association.
Motivation: I feel like I have just started to understand how DFA Board works and would like to take my experience on the board for the last two years and complete what we started.
Katherine Poggenpoel
Katherine Poggenpoel is a postgraduate student at the University of Cape Town currently studying towards her Master’s in Documentary Arts. In 2021, she completed her Honours in Film Theory and Practice at UCT where she created, directed and edited her student documentary film Water is Water. Water is Water went on to win the Best Student Film award at the South African Film and Television Awards (SAFTAs) in 2022. It has also won the Best Human Rights Film at the African Human Rights Film Festival, was selected and premiered at Encounters in 2022, and won the Best Distribution at the 2023 KiddzPAS Awards. Beyond her projects at UCT, she has done post-production work with Maganthrie Pillay on her upcoming documentary film about slavery in the Cape, as well as editing on an upcoming documentary film with Go Trolley Films. Katherine is passionate about African and South African stories in documentary film and how they lead to a deeper understanding of our unique history.
Motivation: I am compelled by the emotional and empowering impact of documentary film and I want to help create and share in that by serving on the DFA board. I believe my passion and care for African and South African film will be well channelled into DocLove and DocShare where I can share my own experience and connect with other African filmmakers. I believe my filmmaking skills and intimate approach to storytelling can serve the DFA in a meaningful way. As part of the DFA board, I want to help and encourage more Black and Brown women to step into the industry.
Khanyi Magubane
Khanyi Magubane is a Film and TV producer, writer, radio broadcaster, entrepreneur and communications specialist with 23 years working experience. A trained journalist, Khanyi has cut her teeth across all formats of media including Radio/TV/Film and digital media. Armed with a BA (Communications) and BA (Hons) Journalism both from RAU/University of Johannesburg, she started career in 2000 and over the course of 23 years has risen through the ranks of the media, production, and broadcasting industry. She’s worked for radio stations including Talk Radio 702, YFM and SAfm. Describing herself as a thoughtful, politically inspired documentary producer, her breakout work in 2012, was the critically acclaimed six part socio-political documentary series entitled, “Why Are We So Angry.” It was screened on SABC 1 and was later screened at different universities including Wits University as part of Drama for Life Crossing Borders Festival at Wits, University of Johannesburg, Northwestern University, Illinois, US.
Her vast work experience include working with SONY Japan on a Fifa World Cup Fevacasters series which told South African football stories in all host cities. She runs a media company named Zinokwanda Media and Communications and has produced across genres including documentaries, Talk Shows, Made for Film Movies for channels including Mzansi Magic, SABC 1, 2. She is currently producing and directing a short film entitled, “A Woman of Substance: The Beauty Selela story” part of a 10 film NFVF slate entitled Unsung Heroes.
Areas I would like to focus on: Festivals, DocChat, webinars, International Strategic Relations, Local Strategic Relations, Policy development, fundraising, Building strategic relationships in and out of the industry.
Motivation: As the current 2022/23 co-chairperson of the DFA I have further developed my leadership skills to enable me to represent the DFA on various platforms, and take the work of the organisation further. I worked with a fabulous co-chairperson Karin Slater and together we steered the ship the best way we could with the help of an incredibly supportive and committed team. I would like to run again to continue serving the members of the DFA. I am hard working and committed with a solid work ethic. I believe my re-election to the board will benefit the organisation as I am building institutional knowledge and I have the members’ best interest at heart.
Lameze Allie
Lameze is a proudly brown-skinned woman, who believes that anything is possible through hard work, perseverance, and a smile. Lameze has been working in the Documentary film space for over 16 years, wearing various hats, from Producing, Film Festival Programming and training. She is currently Line Producing a Web Series with Plexus Films called Kasi Untold, which looks at what home means in a contested space. She has worked on Encounters 2023 as the Outreach Coordinator, Programme Coordinator “Doc Activate Season 2023 Encounters Community Festival Programme. She has also partnered with the Department of Arts and Culture in training 20 youth from the Cape Town district in SmartPhone Documentary Filmmaking, focusing on Heritage as a theme.
As Programme Officer for The Documentary Filmmakers Association of South Africa running amongst other programmes, DocLove which is a monthly free Documentary Film Screening, using the power of film to spark conversation and engage in discussion. Lamaze worked as a Documentary Feature Programmer: Durban International Film Festival, Judge at the South African Film and Television Awards 2022 –Documentary Juror. Bangkok International Film Festival 2022 as a Documentary Film Programmer, She has served on the NFVF PESP 3 Advisory Panel.
She has a deep rooted appreciation and love for Documentary Film and the powerful ways that Documentary can entertain, educate and engage audiences. Documentaries have a unique way of making us think about important global issues while giving us a closer look into people’s lives. Lamaze has a vast range of experience working in Film and Media, from Feature Films to documentaries and training. Lameze worked for Big Fish School of Digital Filmmaking which played a big role in developing her interest in doing work with a purpose, having spent almost 9 years as Project Manager of the Cape Town Campus, working with marginalised youth from all parts of South Africa. Her work ranges from freelancing as Facilitator with Ikasi Media focusing on Production. Ikasi Media trains youth from various parts of the Western Cape and offers much needed bursaries to develop the love of film and storytelling in these communities.
She has worked as a Production Manager on a Heritage Documentary series called “As the Dust Settles” a story of how displacement has affected the socio and economic trajectory of South Africa’s rural inhabitants. Produced numerous short social justice documentaries and a Music Video – “Saviour” focusing on Gender Based Violence and the subtle nuances around the issues women and men face daily in South Africa. She has worked as head researcher on a three year project with the award winning Directors Francois Verster and Simon Wood on a Feature Documentary called “Girl Taken”. Lameze is currently wearing the Director’s hat in developing a documentary about an ex Umkhonto we Sizwe Commander who played a prolific role in the liberation struggle and the 1978 Youth Uprising. This story could go a long way in educating our youth about the struggle heroes who fought and lost lives during the liberation struggle. Lameze has worked on the European International Festival for the past 4 years as Outreach and Audience development, however COVID forced most of the festivals to move to a hybrid format, which was a wonderful learning experience. The 2022 Festival was a huge success as audiences were hungry to be back in Cinemas, movies are always better on the big screen and people enjoy engagement, and the film experience of being in theatre spaces.
Lauren Clifford-Holmes
Lauren is a driven documentary film producer with a diverse skillset, whose roles have encompassed the filmmaking value chain. After a decade as a photojournalist and multimedia department founder and video producer for News24 and the Mail & Guardian, she started as a production manager as her first film role. She soon grew to leading as head of production, and has since gone on to become an established line producer, series producer and post producer. She has delivered on multiple award-winning independent and commissioned feature documentaries and docuseries. Clients have ranged from local government to international NGOs, major broadcasters such as CGTN and streaming giants like Netflix.
She is actively committed to development and transformation within the local film industry, volunteering for several years with the Documentary Filmmakers Association (DFA) as co-facilitator of the docLOVE screening programme, and as a docSHARE mentor to young filmmakers. She currently serves as Company Secretary of the Independent Producers Organisation (IPO), where she also Chairs the Communication Subcommittee and Deputy Chairs the Transformation, Capacity Building and Diversity Subcommittee.
Her journalism and advocacy routes remain a solid foundation to her ethos as a filmmaker, motivating her to prioritise message-driven content that creates debate, challenges norms and breaks new ground. Her ambition is to deliver productions of an exceptional standard that captures and inspires global audiences, while ensuring new ideas and voices are realised from within a robust and relevant local film industry.
Areas I would like to focus on: Local Strategic Relations, Capacity Building and Fundraising, Member Benefits, docLOVE and docSHARE.
Motivation: I celebrate and deeply value what the documentary genre brings to the filmmaking landscape and our audiences. We make films that have the power to educate, shift perceptions, initiate change and motivate growth. Films that speak truth to power and ask the crucial questions of our time. This sector should be one that is well capacitated and empowered and yet we often find ourselves outside of the areas of support and collaboration where we should be included and considered. The DFA plays a crucial role in promoting and developing documentary in South Africa, supporting and empowering us as documentary filmmakers. I would be honoured to join the DFA, where I would like to contribute my skills to assist with the meaningful work underway, wherever it is most needed. I would also like to help with building strategic partnerships and fundraising in ways that will support increasing the capacity of the DFA to do its crucial work, and in turn support the growth and strength of our documentary sector.
Lauren Groenewald
Lauren Groenewald started her career in broadcast journalism in 1991 as a radio producer for Channel Africa. She moved from news into documentary film producing, feature-length, short films, and documentary series for civil rights organizations and broadcasters. Lauren has filmed and worked all over the African continent. She was a lecturer/mentor and content creator at the Big Fish School of Digital Filmmaking and has been a Series Producer for the Close Encounters Laboratory, nurturing emerging filmmakers. She presents industry workshops internationally such as at the Frontline Club in London, teaching storytelling through multi-media and video. She worked as a commissioning editor at SABC in the 90s, then served as executive producer for series at Times Media TV (later Ochre), and moved to become an independent producer at Plexus Films in 2000, where she has produced award-winning documentaries and television series. She has produced and mentored many 1st time filmmakers and has a passion for seeing new voices flourish. She is currently the South African producer for the feature documentary, directed by Xoliswa Sithole, where she is managing a team on 4 continents to tell the complex story of access to affordable medicine. As a producer at Plexus Films, she is also busy producing Kasi Untold a 4 part web series in conjunction with the Cape Town Museum, mentoring young filmmakers who are exploring the notion of home in a displaced environment.
Motivation. I have been involved in the DFA since its inception and in its early years served on the Board twice as Chair. I have seen this organization grow from strength to strength into what I believe has become one of the most important voices in the South African documentary landscape. I would like to contribute to the incredible and meaningful work that has been done over the past few years by the DFA. I would like to focus my energies at the DFA on developing new voices in the industry and supporting their journey. I believe in documentary as a powerful tool for social change and I am passionate about the training and upskilling of young filmmakers.
Mpho Tau
My name is Mpho Tau, born and bred in Bloemfontein. My journey in the film and television industry spans a period of 9 years. Having firstly started in theatre around the year 2003 with a drama group called Majita Comedians. I obtained my training in film and television production with Nemisa (2013) and Big Fish School of Digital Filmmaking (2019). Through my production company 1976 Films, I have a few short films namely; Enough, Tshepo and Beautiful in my skin which got selected at two film festivals namely; Rapidlion International Film Festival and South African Independent Film Festival.
Through 1976 Films we have since developed an interest for film curation through public movie screening initiative called Bringing cinema to your door step and the intent is to create and encourage a culture of consuming South African and African made films both fiction and nonfiction and build/develop audiences for what in future will be Bloemfontein International Film Festival. This year we had our first edition hosting two films; Letters of Hope directed by Vusi Africa and Lobola, a bride’s true price? directed by Sihle Hlophe. Me, all I want to do is tell stories #ThisStoryTellingThing
Area of interest: DocLove Screening and Festivals
Motivation: Having seen a gap in Bloemfontein to introduce the love for documentary, I believe I’m well placed to contribute to the growth and appreciation of documentary filmmaking in and around my region. The teachings and lessons I’m gaining from the screening facilitator course with UCT and Sunshine Cinema will aid me to add value in what the organisation is seeking to achieve. I’m looking forward to contributing, learning and growing.
Nondumiso Masache
Nondumiso is an award-winning filmmaker and a SAFTA nominated producer with 10 years’ experience working in television. She has worked on a variety of factual shows as a researcher, content producer, script writer and director. She received her training at Nemisa and Big Fish School of Digital Filmmaking. Her 2014 short documentary ‘Oswenka: Dignity in a three-piece suit’ screened at several international film festivals and won three awards in Egypt, USA and South Africa. She was part of Talents Durban class of 2017 and In 2022 she participated in the UCT Sunshine Cinema Film Impact Screening Facilitator short course. She is passionate about making impactful films, her focus is on stories from the Northern KZN region. Nondumiso is currently working on her first feature documentary as well as a short environmental film.
Areas I would like to focus on: DocLOVE and DocSHARE
Motivation: I have been working with the DFA as docLOVE program manager since the beginning of 2023. This has been an amazing time, learning from the different people in the docLOVE team, many of whom have way more experience than me. I think the DFA is a very important organization and I would like to continue serving it by contributing towards audience development, growing the documentary industry in the country and exposing emerging filmmakers to the opportunities available to them.
Odette Geldenhuys
Odette Geldenhuys is currently an active human rights attorney and a passive documentary filmmaker. As an active filmmaker, Odette co-produced the award-winning The Shore Break, and directed and produced other well loved documentaries: Here be Dragons, Grietjie van Garies and being pavarotti. Because of these filmic journeys, Odette participated, in different roles, in among others the Durban FilmMart, Hot Docs Film Festival in Toronto and the Berlinale Film Festival in Berlin. Odette also produced television content of different genres, mostly educational and (hopefully) inspirational.
Areas I would like to focus on: docSHARE knowledge share webinars
Motivation: As a legal practitioner, I hope to share this expertise; as a former co-chair of the DFA, I hope to share organisational insights; and as a filmmaker, I hope to share my passion.
Okuhle Dyosopu
My name is Okuhle Dyosopu I am a young black queer woman based in the Eastern cape and I make documentaries.I am no expert but my path into documentary work has been a rare one, and organically placed me in a position in which I always find myself going against the grain. When I first entered the creative space and decided it would be an endeavour I would pursue professionally, documentaries wasn’t my initial preferred medium. So the unimaginable happened in the middle of my graphic design studies, I dropped out. I was struggling a lot with my lectures as I had the audacity to change the curriculum and make it more African. To shut me up they failed me. At the time, I still very young I couldn’t handle failure so I left and fled to Cape Town. To try to find myself outside of home and family expectations. I couldn’t have imagined I would find myself falling in love with documentaries but I did and looking back it made sense. Documentaries felt relevant to me at the time because I was living in a city that was so divided, unjust and oppressive. I saw the power of documentaries through that. Documentaries had the ability to educate, validate and liberate many marginalised people who were usually neglected by society. I fell in love with documentaries because it showed me who we were truly, it detailed issues that would never be covered on the news. More over documentary is and will always be timeless. Now many of my peers who I started with in documentary work have discontinued their journey. And I, well I am only getting started. I am invested in the liberation and autonomy of marginalised people such as myself and I feel and have witnessed how my documentaries have impacted the subjects I use.
Motivation: The activism I practise in my work could further be extended through the association. So I write this motivation saying; young people are the future our voices are valid and mediums such as documentaries need to allow and support young voices. The best documentaries I have watched are from season filmmakers but there is great value to hear how young voices grapple with life especially in a post-colonial, post-apartheid time. More over young voices need to be placed in positions of leadership and be allowed the opportunity to be part of shifting policies and directing new perspectives that can bring value to initiatives such like DFA. There is so much more community and support I wish to see in the documentary space. I wish documentary filmmakers would be valued more from funders, investors distributors and other people in position of power. I have many struggles but I have been fortunate to still have opportunities to continue to work on projects I believe in. Yet, often times I wished I didn’t have to struggle alone. I wished there would be support to assist me with delayed payments with funders, unjust contracts we find ourselves signing, help to find alternatives for budget friendly shooting and editing. These things I had to learn through many mistakes and a lot of money wasted. I argue, struggles such like these should not have to be a write of passage to every filmmaker hoping to enter documentary work. There should be a community to go to for support. And if there is anything I can offer DFA is that, to be place of support for young documentary filmmakers. I believe it is the DFA that should be a place of refuge, young people such like myself run to in this very difficult industry. So in closing I will leave saying this, the very function of freedom is to free someone else this is what I live by. To be nominated and apart of DFA has granted me such freedom and I wish to use this freedom to free more young voices such like myself.
Sydelle Willow Smith
Throughout her career, Sydelle Willow Smith has concentrated on documenting issues of migration and belonging. During the past seven years, Smith has been photographing people of European descent in South Africa, exploring their conceptions of identity and belonging in relation to settler colonial histories with the public photo project Un/Settled. Over the last 13 years Smith’s work with her impact agency Makhulu Media alongside her husband, director Rowan Pybus, includes working with: National Geographic, The New York Times, 1843 Magazine, ADAC, Red Bull Media House, Drugs for Neglected Diseases, Doctors Without Borders, GIZ, The Skoll Foundation, The Atlantic Institute and many social movements in Southern Africa including the Treatment Action Campaign, Embrace and Equal Education.
Five years ago the couple co-founded Africa’s first solar powered cinema network, Sunshine Cinema. They work with over 80 young people across South Africa, Zimbabwe, and Lesotho who host free movie screenings of African films reaching 1000s of audience members to promote access to local stories, and spark dialogue about social issues in rural communities while earning gig work income as media entrepreneurs. The trainee impact facilitators who run the screenings are taken through a six month online course developed in collaboration with the University of Cape Town’s Film Department focusing on how to use film as a tool for social change. Sunshine Cinema was awarded the inaugural Access to Cinema Award by Durban Film Festival and a Berlinale Talents Footprints Mastercard Fellowship in 2019. Smith currently serves as the Executive Director of Sunshine Cinema.
Smith’s photographic work has been exhibited with Women Photo, World Press Photo African Photojournalism Database, Photoville, The Market Photo Workshop and Lagos Photo Festival. Her first solo exhibition, Soft Walls, was funded by a grant from The Gisele Wulfsohn Mentorship program at the Market Photo Workshop in 2012. The work focused on stories of conviviality in the face of rampant xenophobia in South Africa. In 2014 a chapter of the work explored making neighbourhood in Barcelona for West African economic migrants with a residency at Jiwar funded by The Africa Centre. International work assignments have taken her to Kenya, Guinea Conakry, Colombia, Uganda, Côte d’Ivoire, and The United States. She is a Senior Atlantic Fellow for Racial Equity with the Nelson Mandela Foundation and Columbia University. In 2015, Smith received a master’s degree in African Studies from the University of Oxford, and an undergraduate degree (cum laude) in Visual Anthropology and Film Production from The University of Cape Town in 2011.
Motivation: I wanted to take a moment to express my deep gratitude for considering me as a potential member of the DFA Board. The opportunity to contribute to such a dynamic and impactful organization is exciting. As the co founder of Africa’s first solar powered cinema network, Sunshine Cinema, having navigated the ever-evolving landscape of filmmaking, I understand firsthand the importance of staying relevant to new generations of creators. As a storyteller and filmmaker myself, I am genuinely passionate about fostering an environment where emerging voices can thrive.
The array of workgroups, from Advocacy to Professional Development and DocShare webinars, offers an exciting array of avenues for engagement. I’m particularly drawn to the idea of contributing to Member Benefits and DocLove film screenings, given my passion for nurturing talent and fostering a sense of community among filmmakers through cinema screenings. Thank you again for considering me for this significant role. I look forward to the possibility of working closely with the DFA Board to address the challenges we face in the film industry and collectively create a vibrant and supportive space for filmmakers of all generations in Southern Africa.
Taryn Joffe
Taryn Joffe has been part of the film industry since 2010, where she has honed her skills in film programming, film criticism and film distribution. Currently, she holds the positions of Festival Programmer and Industry Coordinator at Encounters South African International Documentary Festival, Distribution Manager at Electric South, Press Release Writer for the Durban FilmMart and Content Editor for New Wave Films (UK). Additionally, Taryn serves as an Advisory Panellist for the National Film and Video Foundation of South Africa (NFVF) and Juror for the South African Film and Television Awards (SAFTAs). Her past roles have included docSHARE Co-Programme Manager for the Documentary Filmmakers’ Association of South Africa, Distribution Coordinator at Big World Cinema and Programmer for the Shnit Worldwide Shortfilmfestival (Cape Town). Taryn has participated in a variety of training programmes, including the Southern Africa-Locarno Industry Academy (SALIA) in partnership with Realness Institute, Talents Durban Press (Film Criticism) and Berlinale Talents (Audience Designer – Market Studio).
Motivation: With an unwavering commitment to the South African film industry and a passion for documentaries, I am eager to take on more responsibilities and make a meaningful impact within my professional capacity by joining the esteemed Documentary Filmmakers’ Association (DFA) Board. Having previously worked with the DFA as the Co-Programme Manager for DocShare and during collaborative endeavours with the DFA through my work at the Encounters South African International Documentary Festival, I have gained insights, both internally and externally, about the important role that the DFA plays in our local industry. My prospective contribution as a board member would be underpinned by my adaptability and dependability. I look forward to the possibility of working towards enhancing the audience engagement, unity and mentorship opportunities that the DFA provides the South African documentary community.
Thando Shozi stands as a highly motivated and dedicated professional within the realm of film and television, leaving an indelible mark on the industry. With an impressive career spanning almost 30 years, Thando’s resolute passion has consistently driven her to lead and create exceptional content, manifesting her prowess from concept to screen. Her journey culminated in a prominent role as the Head of the Factual Department at the South African Broadcasting Corporation (SABC). During her tenure at SABC, hando commanded a dynamic team of Commissioning Editors, entrusted with the delivery of impeccable Factual content, encompassing Documentaries, Reality shows, and Talk formats, across the expanse of SABC’s diverse TV platforms. Beyond the precincts of the Factual Department, she assumed the mantle of Acting General Manager of the Content Hub, a pivotal position where multiple content houses converged – encompassing Drama, Entertainment, Religion, Education, Industry Development, and Reversioning & Repurposing.
Her influence extended beyond SABC, with her active representation in diverse forums and collaborations. From the hallowed halls of the Parliamentary Portfolio Committee on Communications to managing strategic SABC special projects like the Nelson and later, Winnie Mandela memorials when they passed away and many strategic documentary projects were done under her leadership. A great stakeholder manager for the SABC, she was a strong supporter and participant of esteemed events like the Encounters, The Durban FilmMart, and strategic partnerships like SABC/KZN Film Commission, NEWF and 50/50 & SABC/NFVF, Thando’s presence resonates in key industry arenas. Her zeal for nurturing the industry’s growth and mentoring talents prompted her to leave the SABC after 27 years of service to launch her venture, Sunrise Emandleni, where she presently holds the position of Managing Director. Under its banner, her company specializes in skills development training, consulting, content evaluation, and advisory services in programme making for individuals and TV production companies. It is under her
new company where she in advanced development with a two part documentary called Life Of A Slay Bhinca – a heritage and culture lifestyle documentary on the life of a Zulu maiden and social media butterfly called Sinesfiso ‘’Slay-Bhinca”Zondi who lived and died a controversial life.
Thando’s dedication to industry evolution has also translated into her roles as a jury member and mentor for prestigious film festivals both nationally and internationally. Her advisory roles as a Board Member at Durban University of Technology (DUT) and NEWF (Nature, Environment, and Wildlife Filmmakers Congress) underscore her commitment to shaping the narrative of African storytelling and empowering emerging talent. At her core, Thando is a beacon of leadership, an unwavering advocate for TV content creation and innovation, and a compelling communicator. Her passion is especially evident in her love for documentary; commitment to uplifting women and young talents in the film industry. As a member of the Documentary Filmmakers Association (DFA), Thando aligns herself with the industry’s vanguard, fostering progress and inclusivity.
Motivation: It is truly an exciting opportunity to contribute to the growth and development of the documentary filmmaking community through the DFA. I am committed to leveraging my extensive experience in the film and television industry, spanning over 27 years, to bring valuable insights and strategic leadership to the Board. Working alongside fellow board members, I am eager to enhance the impact of documentary filmmaking and storytelling in our region. As highlighted in my professional profile, my passion for documentaries and my recent engagement with the DFA reflect my dedication to nurturing emerging talent and advancing the industry. I am wholeheartedly devoted to fostering collaboration, promoting diversity, and advocating for the vital role documentaries play in shaping our society’s narratives. I am grateful for the opportunity to be part of a team that is committed to driving positive change and innovation within the documentary filmmaking landscape.
Theresa Hill
Theresa Hill has worked in the documentary film industry for the past 23 years. She is a deputy director at STEPS (Social Transformation and Empowerment Projects), a non- profit organisation passionate about the power of documentary film to to disrupt, shift & move the world around us. As part of STEPS, she has worked on the award-winning Steps for the Future, Why Democracy?, Why Poverty? and Generation Africa documentary projects. She is in charge of distribution and handles acquisitions and curates the catalogue for the free-to-view AfriDocs online documentary platform since 2014. She has participated in various film festival juries and selection panels.
Focus areas: Festivals, DocLove screenings
Motivation: The DFA is an important organisation, fostering connection and supporting the documentary industry. I am committed to being an active DFA member and look forward to facilitating new connections in the industry and making sure the DFA continues to be a sharing and nurturing space.
Tiny Mungwe
Tiny Mungwe is a documentary film and arts producer. She currently works at STEPS (Social Transformation and Empowerment Projects) where she produced Generation Africa, a pan-African anthology of 30 documentary films from 16 countries in Africa, on the topic of migration.
Mungwe’s films include Akekho uGogo a 48 minute documentary about urban youth culture which screened at several festivals including the Durban International Film Festival, Apollo Film Festival and DOKANEMA Festival. Her short film script Evelyn was selected for the NFVF Women Filmmaker Project and she directed another short film in the programme, Daddy’s Boy. She has written for some of the highest rating South African television dramas such as Muvhango and Matatiele and was one of the directors on the series Uzalo.
For several years she worked as a festival organizer and programmer for four international festivals, namely Time of the Writer, the Durban International Film Festival, Jomba! Contemporary Dance Festival and Poetry Africa. During that time she also worked on the programme for Durban FilmMart (the co-production market of the festival) and Talents Durban (a career development programme for emerging African filmmakers in partnership with Berlinale Talents). She continues to work as a programme curation associate for the DFM. She also programmed and curated the city of Durban’s inaugural book and art fair, ARTiculate Africa.
Areas I’d like to focus on: DocLove film screenings, DocShare knowledge share webinars
Motivation: Over the years I have benefited from the work of DFA and the community that comes out of it. I would like to offer my time and skills to continue that work in whatever way is needed, especially in my region of KZN.
Tshililo Muzila
Tshililo is a multi-dimensional award-winning film Producer, Director, Editor, DOP, Adventurer & avid traveller. He has worked on internationally acclaimed productions such as Heart-line (Ghana), Homesick (Hong Kong & SA), Tropika Island of Treasure (Thailand & Mexico), Clash of the Choirs, My World, Our Moments, Sheroes, The Perfect Sishebo Show, The Kids are Alright, The Longest Date, Freedom is not Free and more. I have worked closely with major broadcasters as a factual Director and Producer. A thre times SAFTAs nominee for 100% Youth, a doccie-series that won Best Youth Programme. This was followed by ‘Come Again’ Season 4, Best Lifestyle Programme Winner. I have also edited Standing on their Shoulders, a documentary feature directed and produced by Xoliswa Sithole. I have also the following Tv format series, namely My Father My Hero Season 2, Kha ri Tshine-Ma Africa Dance & Lishoba Lempilo. I am currently producing 2 feature length documentaries, ‘Negrito del Congo’ (SA, Senegal, Morocco & Spain) as well as ‘Till Debt Do Us Part’.
Motivation: I have previously served on the DFA Board and now feel that I am well acquainted to offer my insights & knowledge in the industry. I am a team player and also comes from a rich & diverse cultural background and that gives me that edge to objective thought process.