Four Corners

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08/07/2021 Good action, and there are area`s of Capetown you will never see, I know because i did ! See more David M @RT30868034 06/11/2021 An effective, unglamorous drama about the notorious Numbers gangs which hold much sway in many communities on the Cape Flats of Cape Town. The plot does seem to be a little aimless for a while, but it's bought together by the end even if the final twist of the story feels a little too much. The script is what lets the film down - it's too often too expositional of both content and plot, and pains to explain too much to outsiders. That's understandable, but it does mean that some of what comes out of the characters' mouths feels forced and unnatural, which sets it at odds with a film that is in many other respects immersed in local culture (especially the excellent soundtrack). There are some excellent directorial moments and some really powerful cinematography that manages to do more than the reams of expositional dialogue. In the end, it does feel authentic - I've met people for whom this context is their everyday reality, and these are the communities my children are originally from; it's clearly a film that knows its territory and is keen to do justice to the local stories without glamorising or sensationalizing such potent material. It just remains a shame that the script hampers it too much. See more 09/12/2019 Exceptional representation of the Cape Flats .Strong cast who have moulded into their roles See more 09/27/2017 Plot Young Ricardo needs to choose a gang. Farakhan wants to leave prison and the gangs behind. Leila wants to settle her father's affairs and return to studying medicine in London. Gangster Gasant wants to avenge his little brother. A serial killer is looking for his next victim. Their lives will collide. Cast Good casting is half the battle won and Ian Gabriel made no mistakes when he chose the actors for their sheer talent and not their celebrity status of faux music careers. You will see many familiar faces, all the stalwarts of great acting. Pulling together the threads Four Corners starts off with four different stories being told. How the narratives are brought together, gently at first, is genius. Farakhan drags out a mattress on a roof and smokes a cigarette, while Leila pulls up outside her house in the other corner of the frame. Or, the relationship between Farakhan and Ricardo is merely hinted at through a faded newspaper photograph. It all leads to a crunching climax. Fathers The narratives of fathers, absent fathers, good fathers, or the promise of fatherhood that the gangs hold up to destitute, fatherless boys, is a narrative that should be told over and over in this country. Jaw-dropping scenes Really powerful films leave you with lingering scenes for years to come. If you haven't watched Japanese Story, and still aim to, skip this paragraph. Who will ever forget the scene where Toni Collette so desperately struggles to load that body of her lover into the back of the truck? Goosebumps. Four Corners had a few of those epic scenes. The red and blue bits of rope sticking out of the ground? Freaking awesome. Farakhan simply breaking Gasant's face, storming out of his house and taking on the neighbourhood, including his own gun-toting son? Jis. Audio The film has a sharp, crunching, popping soundtrack, with an overwhelming bass sound that puts you on the edge of your seat from the word go. Pistols being cocked, fists hitting bones, even engines revving, made me jump. It's not overdone, though. Your ears don't feel traumatised. Soundtrack Jis, we have some cool South African music. Especially the Afrikaans rap stands out. I'm talking about you, Hemelbesem. Editing A veggie garden is immediately followed by a crack house operation. A really loud, overwhelming scene flows into a little girl screaming into the waves on the beach. Spot-on editing. Surprise plot The "extra" plot of the serial killer was a bit of a surprise. It certainly added an extra element to an otherwise straightforward gangster movie. I'm not sure whether it was needed, though. Cinematography The colour grading, the composition, etc were good enough. The film was certainly strong enough to stand on its own without the help of incredible visuals. There were a few scenes where I wanted to tilt the camera, or move it a few degrees to the right or zoom out. Perhaps my background in photography has made me too critical of composition. The cool thing is, the standard for cinematography in South Africa is so high (thanks to Skoonheid, etc) that the director of photography now really has to spark to stand out. Collective versus the personal I loved the use of "the number". The two gangs, 26 and 28, obviously use numbers to identify members. Ricardo is pushed to choose a number, to join the collective, to become a brother, something that a young, fatherless, single child surely is drawn to. He grapples with that throughout the film. In a pivotal scene, Farakhan urges Ricardo to forget the number. To listen to him, Farakhan as an individual, and make his choice not for the collective, but for himself. "Vergeet die nommer." See more 09/26/2016 chess prodigy gets caught up in this tough to watch south African drama See more 07/29/2016 Gritty and certainly relevant to modern day subcultures that have emerged in South Africa in recent times, but it's low-budget to the extent it feels like a television drama at times. See more Read all reviews

Four Corners

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