The titular pun aptly sums up the diverting subject matter of this affectionate documentary. Filmmaker Lloyd Ross takes a look at the sociopolitical landscape of post-apartheid South Africa framed in the unconventional (and uniquely South African) context of contemporary Nando’s advertising. Known for their daring and singular voice, they became one of the country’s best-loved and most archetypal brands. Made with the co-operation of the restaurant chain and talking heads from representatives of the marketing companies they worked with over the years, Ross’s film celebrates the moral stance and distinctive character of the little chicken shop that could.

The film’s narrative hangs on the television advertising campaigns for the company in the 1980s and 90s; Virtually unknown outside of South Africa, and entirely emblematic of the era, they were risky, of the moment and always a talking point. It is a fascinating insight into a company that has largely played it safe elsewhere in the world. Although Nando’s has a reputation for being “cheeky”; only in South Africa is it seen as defiant, a voice for the people, a chain with a strong social conscience. The film effectively illustrates the significance of the Nando’s rise to popularity and captures a lot of the spirit and energy now fondly remembered by South Africans who came of age in the era.

Ross’s film is a loving and informative slice of life inside the early years of the New South Africa and paints a rosy picture of a company that didn’t always get it right but had heart and was willing to make a stand. Perhaps too easily uncritical of the choices made by the commercial arm of the chain, it is nonetheless a charming and edifying watch that gives voice to the ordinary people and striving business owners of a country beset by assumptions and stereotypes from Britain, especially.

Guaranteed to raise a smile, and a few eyebrows, though it could have stood to dig a little deeper and present more substance alongside the confection. 'Pluck' is a pleasing watch and a worthwhile potted history of a distinct time and place.

‘Children of the Snowland’ is one of the best documentaries I’ve ever seen. From the first scene to the last it had me on the edge of my seat, laughing and crying and falling in love with it’s main protagonists. These beautiful, funny, curious, sensitive and clever young people who for the sake of their families were prepared to take on one of the most perilous and physically challenging journeys and in the process learned so much about themselves, their beautiful country and the cruel circumstances that led their parents to make the most heartbreaking decision of their lives. I felt so grateful to be allowed to tag along.

Whenever privileged white westerners make any kind of film about the rest of the world there is a danger that they either put themselves in the centre of the narrative or that they treat their subject as an exotic bird to be watched in awe and not interacted with. Thankfully the makers of ‘Children of Snowland’ did none of that. Instead they provided three of the youngsters with camera equipment and some training and let them tell their own story. And the result is spectacular. There is a great sense of discovery throughout since these children were very young when they left their home and so have very few memories and are not at all used to the way of life in the remote mountain villages of Nepal. But there is also familiarity and an inevitable sense of belonging as they breathe the mountain air and wrapped in the love of their family, slowly find their roots.

I’m going to start off, instead of my usual summary, by saying that I don’t get this film. I understand what it was about and I followed it, I even enjoyed it, but I don’t understand what it’s supposed to be. Seemingly a documentary it feels weirdly staged a lot of the time and events tend to play out a little too conveniently, meaning it’s too structured to feel like a documentary but not structured enough to feel like it isn’t. Conversations sometimes feel like they’ve been set up, in fact Julie (our lead) even says this at one point, accusing the director of ambushing her with a fake scenario.

In addition it seems to have a very specific audience. Nothing particularly interesting happens and there doesn’t seem to be much of a message or point to the proceedings, which helps add to the confusion of whether or not the film is fake or real. But having said all that negativity, I did actually enjoy this movie and found myself oddly compelled by the story it was telling. It’s far from a classic but I was never bored.

From what I’ve managed to gleam the film is partly staged but mostly the true life story of Julie, a professional British nanny who goes out to work for a wealthy family in the United Arab Emirates. British nannies are quite popular out there, though whether there’s a practical reason for that or if they’ve just seen Mary Poppins too many times is unclear (you kind of suspect a British nanny is a status symbol more than anything).

Julie joins a large family of six children who don’t really have any kind of structure to their lives and is told by the parents to figure out how to fix this. The parents then wander off into the background and remain curiously distant from the proceedings, and though they seem like perfectly nice people and loving parents, it’s fair to say they aren’t naturals at the whole parenting thing. Anyway, with six kids to control, a new culture to get familiar with and a distant family always on her mind Julie has no choice but to dive right in.
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As I said, this is an odd film. It’s doesn’t look especially compelling on the surface unless you are specifically interested in the subject matter and the design is more than a little jarring with the curiously scripted opening at the office of the agency that sends the nannies around the world and the even more bizarrely random appearance of a social media superstar during a family outing.

But as someone who knew basically nothing about what I was about to see, when I went in to this movie I found it pretty interesting. The problem may be that everything is a little out of focus. The culture clash is there, but it feels like the films not really about that. The role of a nanny and the relationship with the rest of the house staff is there, but it feels like the films not really about that. There’s some conflict with the kids, but it feels like the films not really about that. I suppose this is where the movie is clearly a documentary, after all something exciting can’t be filmed unless something exciting happens, but without a targeted focus we just sort of meander about with no real purpose and it shows at times.

Ultimately the film is about anything and everything in this 'Nanny Culture' so the story spreads itself a little thin perhaps. Like I say, I don’t really know what this movie is, but I enjoyed learning about the world it was set in and felt genuinely attached to Julie and the family by the end of it. There’s certainly messages and lessons on multiculturalism and class structure that can be taken from this story and it’s all very fascinating, but again, it feels like the film isn’t really about that.

Available on DVD June 29th!

A decade in the making, and two decades overdue, Peter Anthony brings to the screen both a revelatory character portrait and an incredible story. Turning the traditional documentary format on its head, potentially creating a whole new genre unto itself, 'The Man Who Saved The World' is a film that is an equal blend of real-life, then present day footage and dramatised reconstruction. The former telling the story of a forgotten man, broken by time and circumstance rediscovering the love that exists in the world. And the latter of which, featuring fluid editing and an amazing score, is captured with the kind of cinematic flair more becoming of a Hollywood blockbusters of the famous faces Stanislav encounters, as he embarks on a tour across the United States which he delivered from utter anihilation. Posing and giving voice to some extremely important social and political questions and insights along the way.

Armed not with a gun or super-strength but with heart and compassion, Peter Anthony has placed the name of a real-life hero - of Stanislav Petrov - amongst the fictional likes of John McClane, Iron Man, and ninety-nine percent of Arnold Schwarzenegger characters. As well as, simultaneously, crafting a truly stunning and accomplished film around him, demonstrating that truth really is stranger than fiction and true heroes do exist, even if they themselves fail to see it and the world fails to realise. A film that, in the modern climate, offers concerns more troubling and carries a message that is more poignant than ever. A verdict made all the more impressive and inspiring given the fact that this is the Danish filmmaker's directorial debut.

In cinemas June 19th!

Slipping just shy of the ninety-minute mark, 'Natural Resistance' is a far more compact beast, opting to focus more solely on the individual rather than global. Taking the majority of the responsibility upon himself, including operating a handheld camera, and with few in the way of technical flourishes, Jonathon Nossiter has created a film that feels personal and intimate in a way that so few are in this day and age. What the audience receives can, essentially, be described as little more than beautiful, serene images of various Italian vineyards and a collection of conversations.

That is where, unfortunately, the film falters as well as flies. Though already compact, it could have actually benefited from a stricter editing process and a keener eye on the narrative flow. There is a message at the core than serves as both the connective tissue and the driving force, but there is little variety in the ways it can be expressed before it becomes repetitive. Frustratingly, that moment emerges only a little way into the run-time. Nossiter does his best to combat this, making wonderful use of footage from vintage films, no doubt drawing a parallel between the way the corporations hinder the homegrown farmers and the effect Hollywood is increasingly having on independent filmmakers and their work. But, whilst it serves to expand the scope of his ideals and make it relatable to a wider audience, it also has the unmistakable aura of padding, added in order to turn something that could have been expressed in a video-blog or podcast into a film for no other reason than to be a film.

In select cinemas now!

The truth of the story is an incredibly powerful thing, even if as a westerner my country comes across as unfeeling at best and criminally corrupt at the worst. The story is more than compelling enough to hold together what is, if I'm completely honest, a somewhat shaky production, and I find myself moved by a plight I was largely unaware of before. This is an important piece of film that needed to be made about people who deserve to go down in history for their convictions and determination. Thoroughly recommend for any documentary fan.

For fans of Kurt Cobain and Nirvana, there isn’t much that is new information but nether the less this film is definitely worth a watch. With 12 minutes of new material and a mixed media format, it is refreshing how it helps to keep some distance from the story without being alienated by it. There will always be a slant to films like this but I feel this time around that a relatively unbiased picture has been achieved, showing as many of Kurt’s flaws as it does his strokes of genius. Whether you are reminiscing or being introduced to the man behind the music for the first time, this is a ride I would recommend.