The Encounters documentary film festival highlights the responsibility of filmmakers in troubled times, writes Matthew Krouse.
In his new movie, comedian Leon Schuster goes undercover as a black domestic worker, who goes by the name of Mama Jack. He spoke to Matthew Krouse about playing the full-bodied African beauty.
Irene Stephanou’s heartwarming play about life in a Greek corner café recently opened at the Market Theatre and it seems Greek South Africans are going mainstream. Matthew Krouse wonders why.
Matthew Krouse speaks to Robert Colman about playing 1930s murderess Daisy de Melker, in drag.
National Arts Festival directors have gone big and brash, writes Matthew Krouse.
Alan Coxon’s commitment to South Africa’s eating habits has taken him to the playing field writes Matthew Krouse.
Men in the kitchen will benefit from renowned chef Peter Goffe-Wood’s recent book <i>Kitchen Cowboys</i>, but this is no manual for health-conscious sissies, writes Matthew Krouse.
<i>Hard Copy</i> is shot on a reconstructed newsroom set in the disused Rissik Street post office donated as a location by the city of Johannesburg. In a month, production designer Emelia Weavind and crew created a busy, layered working space where issues and temperaments can play themselves out to the full. Matthew Krouse saw the first episode.
A place of passage: that is what the newly opened Origins Centre at Wits University could well be called. It’s a place where urbanites go to understand how our ancestors empowered themselves — not through work but through religious trance. But this site, has been a place of passage for some decades.
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/ 27 December 2005
”Many years ago, in a second-hand bookshop, I found a children’s first learner textbook in Yiddish. It was published in Vilna, Lithuania, in 1930 and with its owner must have escaped destruction by emigrating south. When I picked up the book with its frayed yellowing pages, I noticed immediately that I could read Yiddish in its original Hebrew script,” writes Matthew Krouse.