The South African film industry is not only experiencing a tremendous boom at present - with four film released so far this year and six on the line-up in the next few months - but also receiving international recognition with Oil on Water winning Best Feature Film at the Everglades International Film Festival last Saturday.
Everglades International Film Festival is the sister festival to the Swansea Bay Film Festival and both festivals honour the individual voice.
Hailed by filmgoers as one of the best films to come out of this country in recent years, Oil on Water was the only SA film nominated, taking the Gold award away from the UK, Canadian and Irish films nominated in the Best Feature Film category
Oil on Water is the creation of the Durban filmmaking team of Peter and Elle Matthews, with Elle as producer and scriptwriter, and Peter sitting in the director's chair.
The film is as an insightful portrayal into what it is like to live with an undiagnosed psychological disorder and touches on emotional, psychological and spiritual issues that affect every human being at some time in their lives.
It depicts the raw humanity of two people trying to hold on to a life that is falling apart, and digs into the complex issues of life and love, art and reality, at the same time as it explores the subtle balance that exists in every human being between light and dark, and between love and the unknown.

DANIEL DERCKSEN SHARED A FEW THOUGHTS WITH DIRECTOR PETER MATTHEWS

How did Oil On Water  happen?
Elle had written this great script for a feature film called Place of Purgatory. It's a big budget film with an 'A' list cast. The difficulty we foresaw was attracting 'A' list actors to work on a feature film with a first time director. So, I had to get my first feature film done to get credibility. Hence Oil on Water. Elle wrote a 60 minute, made for TV- script. A love story that goes horribly wrong due to circumstances outside of the lovers' control. Dramatic, intriguing, emotional and psychological were the ingredients for a good TV movie. Then, Oil on Water took on a life of its own. As we delved into mental disorders we discovered it's the malady of the 21st century. 1 in 5 people suffer from some mental disorder, 52 million people have diagnosed schizophrenia and half of those will attempt suicide at least once.
We shot to script and once cut, we were advised by people in the industry to make it a full length feature and go theatrical release. So, Elle wrote more into the characters to give it more depth and we shot an extra 40 minutes. Oil on Water became a full-length feature, to which we have now devoted 18 months of our lives.

What excited you about the story/ screenplay?
Elle and I decided we wanted to make films that were significant. Films that were more than just pure entertainment. A story that digs into the psychological dynamics of schizophrenia is very intriguing as I find the human mind is so complex; reality is perceived and not 'real' at all. So, taking the audience on a journey where they aren't sure if it's paranormal or psychological is suspenseful entertainment, but also makes you think. People will still be thinking about the film long after they have seen it.
I also loved the idea of doing the paintings for the film depicting Max's mental 'unravelling'.

It is a story about human emotions and not political agendas. This seems so refreshing and much needed..?
The genres of films made in SA that have been receiving recognition internationally are all racially or politically focused. We wanted to make a film that anyone, anywhere could relate to.

How do you see yourself as a filmmaker in South Africa? The tides have most definitely changed?
It's difficult being an Independent filmmaker in South Africa for several reasons. Film funding overseas is more readily available because film is already recognized as an asset class and investors realize the exponential return on investment with film. Whereas in South Africa, intellectual property is seen as risky business and investors are not educated in assessing the financial viability of a film. Government funding is available for films that conform to quotas and content.

Was it difficult to make Oil On Water? What were the challenges?
Oil on Water was shot on a tight budget. Most feature films have an average shooting ratio of fifteen to one. That means that if a film is 90 minutes long, 1325 minutes (22.5 hours) of film were shot (I read that Zodiac shooting ratio was 60 to one). Oil on Water's shooting ratio was four to one. That's tight and very challenging for a director as well as the actors. So, it requires careful planning, thorough blocking and very focused crew and cast. There is little margin for error. And, getting four hours sleep a night for five weeks was exhausting!

You have a great working relationship with Elle?
Elle and I work very well together. Elle's an outstanding writer and her organizational skills are awesome. I work with pictures and Elle works with words, so the two dovetail. We conflict from time to time about money. I need more 'stuff' to improve the production values of a shot, and Elle as producer controls the budget. I am the accelerator and she's the brake.

How difficult was it to get the film on circuit?
The most successful South African films are comedy. Of the top 10 biggest box office hits in SA, 7 are Leon Schuster movies. That's great for Leon and SA audiences, but these films are very local in content and idioms. For an international audience they have little relevance apart from the overt slapstick nature. Oil on Water is a serious film about a serious subject. And, while I realise that people watch movies essentially for entertainment, Oil is an intriguing psychological drama with suspense and some great special effects, but it's also meaningful and deeply emotional. There was some hesitation from the exhibitors about the commercial viability of the film, but given the quality of production and the subject matter, both Ster Kinekor and Nu Metro will be screening the film from 12 October.

What do you hope audiences will get from watching the film?
We hope that audiences will appreciate Oil on Water as entertaining and thought provoking cinema. If people can get a better understanding of the effects of mental illness, it will help to demystify and remove the stigma associated with this debilitating illness. "About one-in-five people suffer from a diagnosable mental disorder during any given year. This means few families are untouched by a mental illness. All families will benefit from understanding how these disorders can impact their lives." Carolyn Robinowitz, M.D. American Psychiatric Association.
The cinematography is beautiful and I hope this instills a sense of pride in our beautiful land.

What do you as a director look for in screenplays?
When I read a screenplay, firstly I want to have some emotional reaction myself. If it moves me, I know I can present it in a way that will move others. After that, it's about structure: Is the story worth telling? Does the story build and resolve? Are the characters believable and are they undergoing some personal revelation or epiphany? Is the dialogue engaging and is it meaningful? It takes so much time and commitment to make a film, I need to believe it's worth the effort.

What excites you about film?
I am an artist and am passionate about making beautiful or arresting visual imagery. I love the notion of taking someone on a journey whereby, after having presented a concept, his or her paradigm has shifted.

What is the most exciting part of making a film for you?
I enjoy every part of film making, from taking the script to a storyboard. Working with actors. The mental pressure of decision making every day on set when you're carefully laid plans go out the window and you have to find a solution. Grading and editing the story. I always tell my kids, 'do what you love and you will never work a day in your life'.

READ MORE ABOUT OIL ON WATER

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