The 19th New York African Film Festival: ‘How to steal 2 million’

In South African director Charlie Vundla’s “How to Steal 2 Million,” Johannesburg is equated with “a jungle.” Main protagonist, middle aged Jack–fresh out of jail and looking for a job and opportunities–compares the city unfavorably to New York City, where, in contrast, people “are in it together.” Mostly shot in empty streets or in dark interiors and at night, the Johannesburg of the film lives up to this characterization. But it’s not just the main character who pines for a projected version of New York City; the film itself longs for its double, adapting and mirroring New York’s association with film noir.

The film follows the trajectory of Jack (played by Menzi Ngubane) and his last-ditch attempts to rise above petty crime. Jack had some money stashed away in books, but soon he’ll run out. An old acquaintance, Twala (Rapulana Seiphemo) entices him to commit a robbery: to steal from Twala’s father, played by a Tony Award winner John Kani. The younger Twala needs to pay off gambling debts. There’s also lot more than meets the eye in the first scenes. We learn that Twala stole Jack’s girlfriend Kim (Hlubi Mboya) while Jack was serving time, and Twala Snr. is himself a first class criminal. Then there’s Olive (Terry Pheto of “Tsotsi”), a thief who Jack meets in a bar. He recruits her for the heist.   ‘How to steal 2 million’ joins a slew of other new crime films out of South Africa set in Johannesburg (think “Jerusalema” in which Seiphemo had the lead; that film was led down by its stereotypical portrayal of Nigerians and fanciful plot). Here the focus is more on the characters and the plots they concoct to outsmart each other. Some cliched dialogue aide, in the end the tale holds up well. Fans of gangster movies will definitely appreciate this one.

Here’s the trailer:

http://youtu.be/9l6rZeX-sbk

“How to steal 2 million’ plays on Thursday, April 12, at 8.15pm at the Walter Reade Theater at Lincoln Center.

* Africa is a Country will review films from the 19th New York African Film Festival (April 11-17) over the next few days.  Also come to the two panels on “Cinema and Propaganda” which we are co-presenting with the Festival on Saturday, April 14, from 1.30-4pm at the Lincoln Center in Manhattan.

Further Reading

Colonize then, deport now

Trump’s deportation regime revives a colonial blueprint first drafted by the American Colonization Society, when Black lives were exiled to Africa to safeguard a white republic.

On Safari

On our annual publishing break, Gaza’s genocide continues to unfold in real time yet slips from public grasp. This is not just a crisis of politics, but of how reality is mediated—and why we must build spaces where meaning can still take root.

The battle over the frame

As Hollywood recycles pro-war propaganda for Gen Z, Youssef Chahine’s ‘Djamila, the Algerian’ reminds us that anti-colonial cinema once turned imperial film language against its makers—and still can.

Fictions of freedom

K. Sello Duiker’s ‘The Quiet Violence of Dreams’ still haunts Cape Town, a city whose beauty masks its brutal exclusions. Two decades later, in the shadow of Amazon’s new development, its truths are more urgent than ever.

When things fall apart

Against a backdrop of global collapse, one exhibition used Chinua Achebe’s classic to hold space for voices from the Global South—and asked who gets to imagine the future.

The General sleeps

As former Nigerian president Muhammadu Buhari’s death is mourned with official reverence, a generation remembers the eight years that drove them out.

The grift tank

In Washington’s think tank ecosystem, Africa is treated as a low-stakes arena where performance substitutes for knowledge. The result: unqualified actors shaping policy on behalf of militarists, lobbyists, and frauds.