PRESS KIT

Marie-Vérité Films59 Witney Street, Bryanston, 2021,

Johannesburg, South Africaryley@mvfilms.co.za

+27 845664995 and +33 782744447

frank films2 Pinoak Street, Vredehoek, 8001,

Cape Town, South Africaodette.g@mweb.co.za

+27837766611

The Shore Break is co-produced by two South African companies, Marie-Vérité Films and frank films.

www.theshorebreakmovie.com

Trailer: http://vimeo.com/102621491Facebook: http://www.facebook.com/theshorebreakmovie

Twitter: http://twitter.com/theshorebreak

Digital stills, EPK and links to articles and reviews are available online:http://theshorebreakmovie.com/press/

This publication is made possible with the support of the Gauteng Film Commission

“ Accomplished, handsome documentary ” VARIETY

“ Masterful storytelling ”SCENE CREEK

“ Unforgettable ”TORONTO FILM SCENE

“ The Shore Break triumphs ”ECORAZZI

“ Riveting ”EXAMINER

SYNOPSISTwo cousins from South Africa’s Wild Coast have opposing plans to develop their land. Nonhle wants to develop eco-tourism in order to protect her community’s homes, farms, graves and traditional lifestyle while Madiba is planning a titanium mine and national tolled highway. Meanwhile, their King and Queen, who oppose the mine and highway, are deposed by the South African Government.

MEDIA RELEASEThe Shore Break, is an award-winning film that unpacks the dilemma faced by a rural community on South Africa’s Wild Coast as to whether to support or resist a proposed titanium mining project that could fundamentally change their lives forever.

Directed by Ryley Grunenwald, The Shore Break was a selected project at the 2012 Durban FilmMart, the IDFA WorldView Summer School 2013, the Hot Docs Forum 2012 and the Hot Docs Dealmakers 2013. It is co-produced by two South African companies, Grunenwald’s Johannesburg-based Marie-Vérité Films and Odette Geldenhuys’ Cape Town-based frank films. It was in competition at the recent International Documentary Film Festival Amsterdam (IDFA), and was named the Best Feature Length Documentary at the 2015 International Environmental Film Festival (FIFE) in Paris.

In the Amadiba area, in the heart of the breathtakingly beautiful Wild Coast, the Pondo people have tended their traditional way of life for centuries. A proposed titanium mine and the government’s controversial plan to build a highway across this ancestral ground, has polarized the community with those that see it as the beginning of the destruction of a way of life, and others who see it as a beacon of economic hope for the region.

Nonhle Mbuthuma, a young local eco-tour guide, is a staunch supporter of her people and the endangered environment on which their livelihood and culture depend. She wants to develop eco-tourism in order to protect her community’s homes, farms, graves and traditional lifestyle. Her cousin Zamille “Madiba” Qunya, a local entrepreneur and self-proclaimed modernizer, is fully supportive of the proposed mining operations and highway construction. Tired of his community living in poverty, Madiba scurrilously courts private capital and questionable government officials. While the South African President deposes the pro-environment Pondo Royal Family, Nonhle rallies support with little more than dogged determination.

“South Africa’s Wild Coast is my favourite place in the world – it has a rugged, mysterious beauty, and our family has been visiting there for years. When I heard about the proposed mining and toll road through the area, I could only imagine the extent of the environmental destruction of this pristine area,” says Grunenwald. “I met Nonhle Mbuthuma, who is a leader in her community on one of my trips there. When I found out her arch enemy in favour of the developments was her own cousin and that the South African Government had dethroned her environmentally-conscious King Mpondombini Sigcau, it felt like something out of Shakespeare. I had to make a film about it.”

“In the early stages of filming I was only aware of how the titanium mine and highway threatened whatever was in their pathway,” explains Grunenwald. “However spending time with Madiba definitely made me see things from a broader perspective. He pointed out things that I couldn’t deny: the Wild Coast’s dire need for more schools, hospitals and employment. He believed large-scale development is the only hope for change. On the other hand Nonhle wanted development that would last longer than the 25-year lifespan of the mine. She believed alternative development such as expansive eco-tourism could develop the area without their having to give up their land and livelihood. Throughout production I kept changing my mind as to who was more ‘right’ about the development of the Wild Coast. The complexity intrigued me and I wanted to allow the audience to see things from both sides.”

“It is very easy for urban middle class people to want to protect the environment when its preservation does not impair their own access to necessary facilities,” says Grunenwald. “However rural people should not have to give up their land and livelihood in order to access basic services and opportunities. I was struck by the amaMpondo’s connection to their land and their determination to protect it for future generations no matter what the cost. They are willing to die for it. We hope The Shore Break will be seen by a wide audience - not only to entertain but to raise awareness of what’s going on and to stimulate debate about the development of our most picturesque coastline.”

Co-producer Geldenhuys, a public interest and human rights lawyer, says “I am very interested in what is development? How is it defined? Who defines? By being structured around the drama of a family feud, The Shore Break manages to ask this question in a non-academic way, but in a manner that ordinary people can relate to.”

Exquisitely filmed with arresting cinematography, The Shore Break is edited by Kerryn Assaizky, features original songs by traditional local musician Ntombe Thongo, and sand animation by award-winning animator Justine Puren-Calverley. The almost Kentridgesque animation links sections and propositions in the film, subtly providing context and silent commentary, creating opportunities for the audience to reflect and muse.

The Shore Break has been selected by Bertha BRITDOC Connect Fund to use the film for social outreach. The film will have free screenings in the affected area, with decision makers as well as other communities facing similar development struggles. “We’re regularly partnering with more NGOs who want to use The Shore Break in their work around development, community engagement, and extractive industries” says Grunenwald.

The film has been made possible by the South African government’s DTI Film Rebate Scheme, a public sector initiative which is ensuring that South African films, including The Shore Break are reaching exhibition. Other funders include Ford Foundation, National Film and Video Foundation, Knowledge Network, Heinrich Böll Foundation, Gauteng Film Commission, Worldview, Alter Cine Foundation, and the Hot Docs Blue Ice Film Fund.

Director / Co-Producer / Cinematographer’s StatementRYLEY GRUNENWALD

In the early stages of filming I was only aware of how the titanium mine and highway threatened the homes, farmland, graves and traditional lifestyle of the people living in their pathway. However spending time with Madiba, Nonhle’s cousin, definitely made me see things from a broader perspective. He pointed out things that I couldn’t deny: the Wild Coast’s dire need for more schools, hospitals and employment. He believed large-scale development is the only hope for change. On the other hand Nonhle wanted development that would last longer than the 25-year lifespan of the mine. She believed alternative development such as widely spread eco-tourism could develop the area without their having to give up their land and livelihood. Throughout production I kept changing my mind who was more ‘right’ about the development of the Wild Coast. The complexity intrigued me and I wanted to allow the audience to see things from both sides.

Personally, I would be devastated if what I believe to be the most beautiful part of South Africa is damaged with mining and a highway. However it’s really not my call. It should be the people living on the affected land who decide what kind of development they want.

South Africa’s Wild Coast is my favourite place in the world – it has a rugged, mysterious beauty. Since my great-great uncle was posted on the beach to look out for German U-boats during the Second World War, generations of my family have spent their holidays there. When my father returned from a fishing trip to tell me that SANRAL was planning to build the Wild Coast Toll Road and an Australian mining company wanted to mine the beaches for titanium, I imagined the environmental destruction of this paradise. Only later would I learn how deeply it affects and divides the people living there.

I went on a fishing trip with my father and met Nonhle Mbuthuma who is a leader in her community against the highway and the mine. She was so hardcore. When I found out her arch enemy in favour of the developments was her own cousin and that the South African Government had dethroned her environmentally conscious King Mpondombini Sigcau, it felt like something out of Shakespeare.

Co-Producer’s StatementODETTE GELDENHUYS

I met Ryley at the Durban International Film Festival 2011 when I had to facilitate a discussion and her first documentary, The Dawn of a New Day, was one of the films in the spotlight. I took note of her determination, clear vision and beautiful photography; and did not hesitate when she approached me to be co-producer a year later.

The way in which The Shore Break was produced, needs to be mentioned. Essentially Ryley and I did so via Skype and Whatsapp as she was living in Johannesburg, I was then based in Durban, and the story was unfolding in Xolobeni (in the Eastern Cape).

As a public interest lawyer, I am very interested in: what is development? How is it defined? Who defines? By being structured around the drama of a family feud, The Shore Break manages to ask this question in a non-academic way, but in a manner that ordinary people can relate to.

I am very proud to have been involved in the making of The Shore Break, as it achieved a rare feat - to be appealing to both art house cinemagoers, as well as social justice interest groups.

Finally, I want to mention the DTI’s Film Rebate Scheme, a public sector initiative which is ensuring that a record number of South African films, including The Shore Break are reaching eyeballs. We also would not have been able to make a film of this depth and quality if we did not have the support of: Ford Foundation, National Film and Video Foundation, Knowledge Network, Heinrich Böll Foundation, Gauteng Film Commission, Worldview, Alter Cine Foundation, and the Hot Docs Blue Ice Film Fund.

CREDITS AND SHORT BIOGRAPHIES

Filmed & Directed by Ryley GrunenwaldProducers: Ryley Grunenwald & Odette GeldenhuysEditor: Kerryn AssaizkySand Animation: Justine Puren-CalverleySound Designer: Basiami ‘Bibi’ SegolaMusic Composition: Joel AssaizkyWith Original Songs from Ntombe Thongo

Featuring the lead documentary subjects:Nonhle MbuthumaZamile QunyaHM Queen Lombekiso Masobhuza Sigcau

Co-Producer / Director / DOP: Ryley GrunenwaldRyley Grunenwald’s directorial and producing debut, The Dawn of a New Day (2011, 60 mins), won Best Director and Best Cinematographer of a Documentary at the 2012 South African Film and Television Awards. She is a Berlinale Talents alumna, holds an MA in Film and Television, and is owner of Marie-Vérité Films.

Co-Producer: Odette GeldenhuysOdette Geldenhuys of frank films has substantial experience both as a human rights lawyer and as a documentary filmmaker. Odette has a deep knowledge of the South African Constitution and works within a rights-based approach. As a documentary filmmaker, she has made award-winning documentaries such as being pavarotti, Grietjie van Garies and Here be Dragons.

Editor: Kerryn AssaizkyKerryn Assaizky is a film and television editor based in Johannesburg, South Africa. With a strong narrative sensibility and concern for social justice her primary focus is in documentary filmmaking. Although Kerryn’s first love is documentary, her body of work ranges from short form to feature length productions, across both fiction and factual genres.

Sand Animator: Justine Puren-CalverleyJustine Puren-Calverley is an award-winning animator whose chosen medium is sand. Justine strives to create personal pieces that have both creative and intellectual integrity.

Sound Designer: Basiami ‘Bibi’ SegolaIn 2004 Basiami began her career as sound mixer and designer on several dramas and miniseries for the SABC. In the last ten years her focus has been on feature documentaries and feature films.

Composer: Joel AssaizkyJoel Assaizky has been composing music for television, commercials and film since 2002. In this short space of time he has become well known for his unique approach and innovate sound design.

FAQ with director Ryley Grunenwald on The Shore Break

How did you get access to both cousins’ points of view: Nonhle and Madiba?

Social worker, John Clarke, who features in the film, put me in contact with Nonhle Mbuthuma. She and the Tribal Authority agreed to allow me follow their story. Then after hearing so much about Nonhle’s cousin, Zamille Qunya (who likes to be called by his clan name “Madiba”), I approached him and he granted us permission to film him.

What was the research and production process like?

Capturing the story required dozens of trips from Johannesburg to the Amadiba Area, about a 12-hour journey. During research and development I travelled on my own, assisted by local translators, and once we secured some funding a sound recordist and intern / camera assistant joined me.

Even with a 4x4 we regularly got stuck in the mud and had flat tyres but luckily the local residents were always very helpful. The area does not have much cell phone signal and no electricity, which made production tricky. We had to charge our camera batteries by solar power and the car’s engine. However, we were surrounded by the most spectacular hillocks, waterfalls and cow speckled beaches. Production was a microcosm of an issue explored in the film - the tension between wanting to preserve a beautiful coastline and serious frustrations because of a lack of infrastructure. Only for the people living there it is not about a camera battery dying, but whether they can get their sick child to a hospital on time.

What were some of the highlights during filming?

It was a pleasure to be working in such a hauntingly beautiful place. On most trips we would spend a day hiking along the cliffs and beaches or canoeing up the rivers to capture the waterfalls, cattle, sand and all the detail that makes the Wild Coast so spectacular.

One afternoon the weather conditions were foul and we decided to visit a local tavern. After an hour we headed back to Mtentu Lodge where we were staying a few kilometres away and found a bunch of holidaymakers boozing it up at the bar and talking about the same issues. The two settings so close in time and space, yet worlds apart, cut together so well. What seemed to be a disaster of an afternoon resulted in one of my favourite scenes in the film.

It was a dream come true to have the Pondo musician Ntombe Thongo write and perform some original songs for parts of the film. He recorded all the instruments and vocal parts in one day. He made it look so easy. From the outset I had wanted to use Justine Puren-Calverley’s sand animations to portray past events – and so it was quite a high when funding enabled us to do this.

Did you face any major obstacles during production?

Madiba is right when he says you cannot even dance on the roads without a 4x4. The most stressful time was when Nonhle’s neighbour, a young girl, fell fatally ill. Her eyes had rolled back and she couldn’t walk or speak. As I was the only person with a vehicle, I had no choice but to stop filming and drive almost two hours to the nearest clinic. Sadly, she later died of what seemed to be meningitis. That experience really made me face the harsh realities of living without basic services. Was mining the only option to bring basic services or were they purposefully being denied these services by Government because the community members were refusing to allow the mining?

What did you learn from the experience?

I learned that it is very easy for urban middle class people to want to protect the environment when its preservation does not impair their own access to schools, hospitals and employment. However rural people should not have to give up their land and livelihood in order to access basic services and opportunities. I was struck by the amaMpondo’s connection to their land and their determination to protect it for future generations no matter what the cost. They are willing to die for it.

What did/do you hope to achieve with The Shore Break?

The Wild Coast is such a remote area that many South Africans have never visited it or know much about Pondo culture. I hope The Shore Break will be seen by a wide audience - not only to entertain but to raise awareness of what’s going on and to stimulate debate about the development of our most beautiful coastline.

The Shore Break has been selected by Bertha BRITDOC Connect Fund to use the film for outreach. We will be providing free screenings in the affected area, with decision makers as well as other communities facing similar development struggles. We’re regularly partnering with more NGOs who want to use The Shore Break in their work around development, community engagement, and extractive industries.

What has happened since the film was completed?

The Pondo selected Crown Princess Wezizwe Sigcau as heir to their throne, but President Zuma has filed papers in court to install Zanuzuko, a person who had previously been imposed on the people as their traditional king. Responding papers were filed by her attorney during early May 2015. SANRAL filed affidavits in court claiming community members’ approval of the Wild Coast Toll Road. A highly respected, elected member of the Coastal section (Section 24 Umgungundlovu) of the Amadiba Traditional Authority community asserts that her signature was forged on such approval forms; and there are names on the approval forms who are not known members of the community.

Andrew Lashbrooke, who in the film is the CEO of the mining company, resigned and is suing his Australian former partners. On 6th March 2015 the mining company reapplied for mining rights for the third time. On 9th April 2015 they attempted another public participation but were chased out by the coastal community who again made it clear that the majority are not interested. In May 2015 violence broke out between pro-mining and anti-mining groups when Zamile ‘Madiba’ Qunya and Chief Lunga Baleni tried to lead a convoy of cars to implement the mining company’s Environmental Impact Assessment. Members of the community blocked the road, violence broke out and one person was hospitalised. An application was lodged in the High Court to obtain an urgent interdict to prevent Zamile Qunya and his brother, Chief Baleni and others from threatening and assaulting community members opposed to the mining of their land.

What can people do to help the situation?

What the Wild Coast could really do with is some meaningful investment into different types of development that does not divide the community and allows them to have access to better appropriate infrastructure, services and employment without losing their homes, farms and graves.

Credit List for The Shore BreakA Marie-Vérité Films & frank films Production

In association with NATIONAL FILM AND VIDEO FOUNDATION OF SOUTH AFRICA

Music CompositionJOEL ASSAIZKY

With Original Songs from NTOMBE THONGO

Sound DesignerBASIAMI ‘BIBI’ SEGOLA

Sand AnimationJUSTINE PUREN-CALVERLEY

EditorKERRYN ASSAIZKY

ProducersRYLEY GRUNENWALD & ODETTE GELDENHUYS

Filmed & Directed byRYLEY GRUNENWALD

In memory of KING JUSTICE MPONDOMBINI SIGCAU

THANDIZULU1942 - 2013

PETER WINTONICK1953 - 2013

Sound RecordistRIC MC NAMEE

Additional Sound RecordistsANDREW BUTCHER

ANDREW SUTHERLANDCARLA WALSHDAVE HAWKINS

MIKE BRINKOLIVER MACHIN

TRAVIS NEL

Additional Camera DIANA NKAMBULE

NICHOLAS COSTARASNOXOLO MHLONGO

STEPHANE GRUNENWALD

Camera AssistantDIANA NKAMBULE

Additional Camera AssistantsMFUNDO MCEBO SITHOLE

NOXOLO MHLONGORYAN BISHOP

Recce GuidesNONHLE MBUTHUMA

SBU MQADIORGIE SONJICA

Helicopter PilotJOHN RUDLING

Final Mix SoundBASIAMI ‘BIBI’ SEGOLA

ColouristYOAV DAGAN of TINT POST

Story ConsultantJESPER OSMUND

Editing AssistantLEBOGANG MOLETA MEREEKAE

Translation & TranscriptionMAMTA RAMJEE

NTOMBOMZI ‘ZOMZI’ NKWENTSHAPHIONA UNATHI VILIKAZI

STANFORD GIBSONZEWANDE BHENGU

Production AccountantANDEA DE JAGER

Trailer & TitlesNICHOLAS COSTARAS

Graphic DesignerJAMES CARROLL

Completion BondHOLLARD INSURANCE

Very Special Thanks to

HM Queen Lombekiso Masobhuza SigcauNonhle Mbuthuma

Zamile Qunya

Mtentu Lodge, Wild CoastQaukeni Great Place: emaMpondweni

Constitutional Court, JohannesburgNorth Gauteng High Court, Pretoria

Special Thanks to:

Centre for Applied Legal StudiesCity PressDigital Film

Documentary Filmmakers’ AssociationLawyers for Human RightsLegal Resources Centre

Media Film ServicesPuma Video

Southern African Faith Communities’ Environmental Institute

Amadiba communityAmadiba Tribal Authority

Bridgette DuffeyClarence HamiltonDanièle Lacourse

Elizabeth RadshawHM King Justice Mpondombini Sigacu

HRH Princess Wezizwe Sigcau Isabel Arrate

John GI ClarkeKate Townsend

Kgomotso TabaneMarion SimpsonMayalo Gampe

Mpondo Royal CouncilMurray Battle, Commissioning Editor of Knowledge

Neiloe WhiteheadOle GjerstadPaul Raleigh

Peter Wintonick Russel Hartshorne

Rudi SiefertSabine MajewskiSamson Gampe

Stephane GrunenwaldStephanie McArthur

Wendy MphaleleYorinde Segel

Andrew JamesAndrew MillsAnita Khanna

Arya LalooBarry Berk

Bishop Geoff DaviesCati Weinek

Charl BlignautCharl MalherbeClive MarnochDanie Bester

Drikus van der Merwe Emma Algotsson

Emma DavieEvan Brauteseth Frank Meyburgh Greg Heimann

Henk SmithIkka Vehkalahti

James Bassingthwaighte

James CarrollJoy OlivierLieza Louw

Lubabalo NgcukanaLucia Meyer Marais

Maia Green Menno BoeremaMoray Hathorn

Natasha Joseph Nick King

Nikki ComninosPetra Lataster-Czisch

Robert TrunzSarah Sephton

Sinegugu ZukuluTeboho Pietersen

Tom MariasThomas WolfTracey Kelsey Vicki Marnoch

MUSIC

UXAM ULILELA ABANTWANA BAKHE(Madosini)

Published by: Sheer PublishingSound Recording Courtesy of: MELT 2000

UTHANDO LUPHELILE(Madosini)

Published by: Sheer PublishingSound Recording Courtesy of: MELT 2000

NOZIMAMA (UTHANDO LUPHELILE DUB)(Madosini)

Published by: Sheer PublishingSound Recording Courtesy of: MELT 2000

PORT GROSVENOR(Andrew James & The Steady Tiger)

Recording & Publishing rights courtesy of Andew James and The Steady Tiger

IZIZWEWritten & Performed by Ntombethongo

Recorded at JMYC Studios

KUNZIMAPerformed by Mayalo Gampe

UMZI UNGENANKOMO(Madosini)

Published by: Sheer PublishingSound Recording Courtesy of: MELT 2000

BAFAZI(Madosini)

Published by: Sheer PublishingSound Recording Courtesy of: MELT 2000

EMVA EKHAYA(AmaMpondo)

Published by: Sheer PublishingSound Recording Courtesy of: MELT 2000

DREAMWritten & Performed by Ntombethongo

Recorded at JMYC Studios

CELEBRATIONWritten & Performed by Ntombethongo

Recorded at JMYC Studios

UNTITLEDWritten & Performed by Mayalo Gampe

Recorded on location in Sigidi Village, Wild Coast

Produced in association with

Produced with the assistance of the Department of Trade and Industry South Africa,who will not accept any liability for the content and does not necessarily approve such content.

© Shore Break Movie (Pty) Ltd 2014

Shore Break Movie (Pty) Ltd is the author of this motion picture for the purpose of copyright and other laws.

This motion picture is protected pursuant to the provisions of the laws of South Africa and other countries.Any unauthorised duplication, distribution and/or exhibition of this motion picture may result in

civil liability and criminal prosecution.

www.theshorebreakmovie.com