This paper explored the strategies and aims around notions of desire in contemporary Afrikaans cinema, with specific emphasis on Oliver Hermanus’ award winning Skoonheid and Paul Eilers’s coming-of-age drama Roepman.
Broodryk argued that Roepman neutralises the political potency of desire through its emphasis on nostalgia, whereas Skoonheid demonstrates the potency of non-redemptive, discomforting desire with reference to Girard, Hitchcock and Deleuze.
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