Landmyn: A Heartbreaking Story About Imperfect People

This film walked away with numerous awards at the Silwerskermfees, and it’s clear why. The screenplay and direction by Nico Scheepers are raw and authentic. This story is just as beautiful as it is devastating. Scheepers has said that he wanted to tell a story about real people, and he certainly succeeds in capturing the complexity and imperfection of human nature and family ties. Every character in the film is complex, with their own shortcomings and virtues. The clash of personalities is phenomenally written and performed. It also comes through powerfully in how each family member experiences Annatjie’s manipulation differently.

Anna-Mart van der Merwe outdoes herself in her portrayal of Annatjie, and rightfully walked away with the award for Best Actress in a Feature Film at the Silwerskermfees. Nicole Holm, who plays Annatjie’s sister, also thoroughly earned her award for Best Supporting Actress at the same festival. Holm’s performance brings much-needed humour, but her emotional moments are equally excellent. Carla Smith, who plays Colette (one of Annatjie’s daughters), never fails to impress me in productions with her genuine acting and her ability to portray emotion in a seemingly effortless way. She makes the character feel incredibly real and draws the audience into the story. Both Van der Merwe and Smith’s outstanding performances therefore contribute to the tension in the film.

The film’s pacing and rhythm reinforce the characters’ emotions and let the audience feel along with them. The editor, Reghardt Botha, deserves credit for this. Chris Lotz’s cinematography supports the story and makes the world it plays out in feel believable and familiar. Tim Pringle’s sound design is another aspect in which the film truly excels. The sound design is realistic and minimalistic, and strengthens the tension in a very effective way. Unfortunately, there are a few jarring transitions in the sound mix, as well as sudden musical insertions, which detract from the story and the viewer’s experience.

My only real criticism (and disappointment) is aimed at the film’s usage of an original score, which frequently overwhelms the other elements (including the story itself). The musical score is melodramatic and heavy-handed, which alienates the audience from the story rather than drawing them in. It even makes the viewing experience uncomfortable at times. The piano, which features prominently in the score, doesn’t suit the mood of the film. The sound design is so successful that the film hardly needs the score at all. There are, however, a few moments where other musical elements are used more effectively to support the story and the film’s style.

If you can look past the intrusive music, Landmyn is a poignantly honest story, with characters in whom we will recognise ourselves in one way or another. There is no pretence of perfection here — only broken people doing their best to overcome their obstacles. It’s a story that will stay with you long after the end credits have rolled.

Landmyn is released in cinemas on 4 September.