User reviews

Let's start by saying what this film is not. It's not an historical film. It's not a gay drama. It's not a documentary. It's not a war film.

What is it? It's a picture of a young man who barely understands that he is attracted to guys negotiating his way through military training, relationships in a brutal and macho culture, actual patrols in the bush and a strongly forbidden relationship. Worse, he is doing this as a native English speaker with an Afrikaans name.

I started like this because I think several reviewers may have wanted different things from the film as mentioned in their appraisals of it. That they didn't get it speaks, for me, to the excellence of the film which holds the interest throughout. We didn't need bludgeoning with details of the border war, a weepy romance, grisly scenes of gore and shattered flesh. Thank goodness we didn't have them.

We see, despite the in-your-face military training and the rudeness of barracks life, something that is almost impressionistic in its alighting from scene to scene some of which are respites from the relentless horror of instilling hard, soulless conformity into a company of disparate kids and some of which are flashbacks. The film is happening, we know the outlines of the situation, but it's as if it's happening outside the bounds of the events in the world at large which are incidental yet essential to the film's progress.

The loathsome oppressiveness of life in South Africa in the 80s is shown - obligatory church services, indoctrination, no dissent brooked, patriotism compulsory, psychological torture for those who do not conform, medical interventions amounting to abuse for those suspected of being gay.

In this poisonous atmosphere, Nick finds fleeting happiness with a fellow recruit Stassen.

After the conscription period, Nick returns home and fulfils his promise to see the sea together. The ending is perfect and equivocal and it leaves the viewer to use his or her own mind as to what might have come after.

As for the alleged inaccuracies in the script, so what? It's a film. I didn't care that the guys hadn't been shaved to a number two. So what if the sergeant would have normally been a corporal doing the basic training?

It's a film that will certainly stay with me.

I saw this film at the Glasgow Film Festival. The film is beautifully shot and tells the gripping tale of 16 year old Nicholas's two year of conscripted service in 1980's South African army. At the same time Nicholas is coming to terms with his sexuality. The film pulls no punches in setting out Nicholas's initial experiences. The acting by all concerned is very good and the film moves along at a reasonable pace. My only criticism is that the ending is a bit dragged out but overall that is minor as the film is a very good watch.

This South African film would appear to tread a well-worn path; and it's certainly true that the military training (and also war itself) is hell genre is one that can often feel over-familiar. Many of the tropes we know well are there, but this stands out for a couple of reasons. Telling the story of the white male experience of conscription in apartheid South Africa is an under-explored context in cinema; and to do so from a South African, coloured director makes this all the more striking. Also served by a disciplined running-time, the film manages to examine a particularly (Afrikaans) brand of white South African toxic masculinity with an unflinching but compassionate eye. That the legacy of this still haunts South Africans of all ages and races makes this all the more important. The title is an Afrikaans slang word used to offensively denigrate gay people, and it's this territory that the film specifically deals with; it's often a hard watch, but never relentlessly so and never excessive. Though it is very much rooted in the local context, it will work well for viewers no matter their nationality. This film suffered from an abbreviated cinema release due to lockdown, and deserves a wider audience.

As an ex SANDF conscript, there are just too many factual inaccuracies for me to take the film seriously. A good attempt, but falls short in many aspects. Life was far more brutal as a conscript in the SANDF and the ending is left hanging in the air.

I expected a lot, given the hype and publicity. I felt the story was just not a realistic enough reflection of the then SADF. Too many other inaccuracies - I cannot recall SAR locomotives in 1980 having the colour / livery as the one in the movie.

The sergeant has a strange accent for an Afrikaans speaker, and generally the bulk of basic training and initial interaction for recruits would have been with corporals in any case.

Then what is up with all the long hair? Not at all what the case was back in the day - soon after arriving as recruits, you would have been given a very short haircut.

The photography is good and the movie does have its moments, but overall we did not really get a real glance into what a gay recruit like Nicholas would have experienced.

Moffie is an Afrikaan slang word for being Gay. Throughout this film and especially during the atrociously brutal army training it is used along with many other anti-Gay words, and the numbing repetition of the damning words are meant to brainwash the new army recruits. Those who commit homosexual acts are ' sent away ' and are brutalised: one having endured so much under this torture blows his brains out in front of a group of soldiers. Each country has its hushed up and taboo issues and no doubt South Africa would no doubt not have entirely agreed with this brave and extraordinary film. I can also understand why certain Gay/Queer people would be unhappy that the homosexuality was toned down, but then I am not. The few scenes of intimacy are heartbreakingly tender and the most one sees is a tentative kiss on the mouth. This is enough in a film that shows how all tenderness between men is punched, hit, and inwardly murdered out of them. This is a War film that has little heroics and if some of the directors and actors of the spate of War films in the 1950's/60's could see this masterpiece they would probably shudder away from it. I will not give away spoilers about the War scenes but only mention that one killing of one ' enemy ' burnt itself into my brain. This was no hero stuff, but an authorized murder, and the ' killer ' looks numbly down at what he has done and the dying man in his agonizing last breaths stares up at him, telling us more about War than any other film I have seen. Only a great and sensitive director could have shown the inward horrors of War so clearly, but not emphatically. In the same way the lack of emphasis rather than the sexually explicit showing of homosexuality. Overall it is a heart breaking film about what men are forced to do. The ending for me was desolate, but then what else should I have felt ? The fatal word ' Moffie ' destroys in so many ways. As for the acting it was perfect. An Oscar contender ? I sadly doubt it.

Story is beautiful telling a boy deep down secret. It's not the usual gay military movie I ever watched, indeed some spiritual and a boy heart way was filmed. It's quite touching to me. Love the cinematography. It always been a case that you uncertain your sexuality when young n sometimes cross the line given the situation but when time right, you step back the line. This is quite real.

As extraordinary and as hauntingly beautiful as Skoonheid (Oliver Hermanus's second film) was, I could only recommend it to die-hard cinephiles, and still then I included a warning. It all builds up to a crushing scene which traumatised this rather thick-skinned reviewer. It attests to the power of the film. Moffie, even more extraordinary and more hauntingly beautiful than Skoonheid, is not Skoonheid. Everyone should see it. No warning necessary.

The first few frames - in 4:3 format, flawlessly colour-treated and styled, shot on a perfect location - immediately places you in what is unmistakably the 80s, in apartheid South Africa. Everything is beautiful though, from the brooding landscapes, the wind in the grass, the dreamy lighting, to the underwater shots and the young men. The beauty does not, however, lull you into a false sense of safety, because as the cello music builds from a whimper to a scream, you know what lies underneath the water's surface. You fully understand the threat posed to this gentle boy. So, you wait for it to come tumbling down. Whether it does or not, I will not say.

Along the way, there are brutal scenes of war, anger, toxic masculinity and blind nationalism. There are also tender moments of sharing a sleeping bag, singing "Sugarman" and a desperate wink when words fail. It is these tender moments that make the brutal moments more bearable, but also so much more brutal.

I am leaving this review unfinished, for if I describe the wordless, aching scene between Brand and Nicholas, a scene that represents the brilliance of this film, I will give away too much and spoil it for you. The only other thing I will say, is that Skoonheid dealt with repressing the desire and anger of one man. Moffie deals with repressing and brutalising a whole generation.

I decided to read the novel Moffie first and I liked to read it: an intense description of the apartheid's redneck mentality contrasted with the lives of a band of boys in the army who recognize eachother search for what is really worth in life passed the restricting culture of their white upbringing of the apartheid era. The novel is full of traumatic events and menacing figures in the youth and the army which are very testing for the sanity of the main figure because of his great sensitivity and vulnerability. The movie curtails the novel in a desastreus way. The youth events are all gone and replaced by one which is ok but far from being so good as the originals. The difficult and central relationship with the father is almost completely gone. The band of boys in the army is reduced from four to three and the homosexuality is brought back to a few suggestions. The erotic tension is often there like in the many shower scenes with all well build young men but in the relationships it is never acted out. In the novel this is also most of the time hidden by the main person but there he thinks about his desires a lot. In general in a movie mental situations, thinking etc are difficult pictured and only heard in a voice over in what ever form. I don't say a voice over should have been used to express all that thinking and feeling from the novel but at least all the tension of the hidden feelings for each other could have been more expressed in what ever cinematographic way. At least it could have been to the open like in the end of the book.

I'd read the book which is atmospheric and weirdly compelling, if also slight and ultimately unsatisfying. But books with sparse narratives often make the best films (eg. Bridges of Madison County) so I was ready to give Moffie another go. The film is also atmospheric and offers some confronting insights into the apartheid years and South African army culture. Beyond that, it is less compelling than the book, and even more unsatisfying. There's a fatal lack of narrative drive and no real attempt to flesh out key characters - acutely observed in the book, but only roughly sketched in the film. Our guide through two years of national service is Nicholas van der Swart, a sensitive young man, struggling to come to terms with his homosexuality and experiencing the first pangs of serious attraction. In the novel both his inner and outward struggle is moving and eventually devastating. But on film Nicholas appears frustratingly passive and considerably less heroic. Kai Luke Brummer makes an attractive Nick, but the role is almost entirely reactive, which makes for a somewhat lame hero. Perhaps Moffie is the film that that book deserved - faithful and true. But it still feels like a missed opportunity.

Reading many of the reviews here, I can't help feel that many have misunderstood the point of the film.

This film is not an exploration into apartheid times, nor the war. It's also not thematic around homosexuality.

Instead, the film is a reflection on masculinity and herd mentality. Of three sensitive men, forced to join the army and having to come to terms with their new environment.

I've avoided spoilers in this review, deliberately. However I would say many reviewers here seem to like conclusive endings, or happy endings. This film will not give you that.

This film will take you on a journey of aggression, submission, romance and friendship.

A wonderful film.

About gay life in a kind of world that has been cronically sodomizin,, bullying and repressing gayhood or every kind of lgbtq+ life and lifestyle, namely the military services. this time its from the army in southafrika.

its a tough film to view, and there are similarities to my own countrys military services, but not that harsh and cruel. when i was in most gay people where dismissed on medical reasons and were therefore not so outstandingly in your view, but bullying can reach the worst dimensions in a hierarchy as military. there are very few to turn to, and back then it was merely a mans world. not a good recipie.

there are lots of raw language and the commander have phrases that could frreze off every kind of pride the newbies may have, and they always find themselves a scapegoat, that often fell 6 feet under before the end of service.

otherwise its a rather shallow military tale, the personalities poorly described, even the main caracters, and the flashback of his life are not to easy to interpret.

but if you like the screams of southafrican kraalsk afrikaans, then have a go, the grumpy old man thinks its recommended anyway

"Shot in Academy Ratio, MOFFIE is more retro-accurate in its production design and overall hue that is evocative of a bygone time. DP Jamie Ramsay's gorgeous cinematography, whether a mobile close-up or a static long shot, has a painterly and grainy texture in accordance with Braam du Toit's ominous and otherworldly string score, plus Brümmer's poised, internalized central performance, together MOFFIE almost immerses audience vicariously into the seemingly never-ending nightmare, culminated in a night patrol near the border where you might dread a landmine could explode at any minute."

read my full review on my blog: Cinema Omnivore, thanks.

What is it like to be a 16-year-old, having to spend 2 years in the army? It is 1981 South Africa, and Nick is due for army service, undergoing basic training, then joining the border clashes with the communists in Namibia. The biggest rule in basic training is to not catch the attention of the Sergeant. Also, in a hypermasculinized culture, don't get caught doing anything "moffie", i.e. "faggot".

Because of the taboo against homosexuality, there is little in the nature of a gay story - just some hints here and there. It would not take much cutting to remove the gay angle, except to show that the army considers moffies to be people to be beaten and sent for psychiatric treatment.

Also, while it was useful for recognition for Nick to look the youngest in his squad, it just seems weird that what should be a group of 16-year-old recruits would look so old.

Intensely emotional at parts, this film is a great representation of what men go through in spaces like the army without repercussions. Bullying and mob mentality is used to push them to ever-increasing levels of aggression and apathy. In the film, there are some harrowing moments portraying South Africa's oppressive laws at the time, which gets quite tense at times. The only reason The acting is spectacular, the scenery beautiful, and the ending emotionally jarring.

I've seen a few reviews with regards to the ending, and I can't help but feel those viewers missed the point. If you're left with the same feeling as the characters themselves - that is cinematic success. The only reason this film didn't get 10 stars from me is because I feel that the audio could have been slightly better thought out.

Powerful - precise definition of manhood. The basic virtues - great performance of Kai Luke Brümmer, inspired end and honest portrait of apartheid policy, army life, clash between innocence and tough life of a rigid system.

Great cinematography, a couple magnificent scenes, fair - honest moral and precious image of the taste of love in hostile medium.

Sure, manz references from war / army life films of the last decades. But the specificity remains fresh and convincing and impressive. So, a confession. Not only as inspired adaptation adaptation of a book reminding a personal experience but as cold drawing of truth defining society for many comunities, in many contextes.

This makes it just a great film.

Moffie (2019) -

Conscription makes me as angry as conversion therapy and this film made me as angry as the conversion therapy films 'Boy Erased' (2018) and 'The Miseducation Of Cameron Post' (2018).

It will always be as hard for me to understand these ridiculous concepts as it is to understand Apartheid and racism in general.

I had a friend that was still concerned about doing his National Service, back in South Africa, even in the early 2000's. I didn't get what it even meant, because why would the government of the world let such an outdated idea and infringement of human rights continue?

This film was not a romance by any means, but instead it was a brutal view of homophobia and racism in the early eighties that made me feel as if it probably hadn't moved on very far since then. It was very tough to watch at times and all of the bravado and toxic masculinity was really obnoxious.

Honestly I only watched it for the gay element, thinking that there maybe some hot soldier sex in the showers or something, but the larger reality of the film was so harsh to watch. It was the type of thing that upsets my stomach. I cannot abide injustice in any form.

All of the military shouting and "Boys will be boys" barracks rough housing, will always be unnecessary as far as I'm concerned. I'm definitely of the school that will catch more flies with honey than with vinegar and this abhorrent behaviour would be enough to put me off ever joining an armed force, if I ever lost my mind enough to even consider it.

I would go straight to Ward 22 and deal with things that way, because I couldn't fake my way through for two whole years, lying to myself and generally feeling uncomfortable around everyone else.

Basically, I was appalled by the content, but the performances were all very good. I do tend to watch a lot of "World" cinema and it hasn't always translated that well, through either a language barrier or a difference in comedic tastes or production styles, but this one was very well put together.

It reminded me of the film 'Yossi and Jagger' (2002), but that was slightly more bearable in its portrayal of a similar story, if not as well made.

There was a lot of cello music, which became a bit much after a while and I think that the soundtrack could have been a little bit more versatile.

I, of course, thought that the hottest guy in the film was the one who had been the most evil and horrific throughout, but we can't choose who we fall for.

It was also very ironic that they had to paint there faces black to go out on their missions.

It was a slightly disappointing ending with no real definition either way. As if there might be a part two, which could explore their struggles having left the army, but I don't think that will be the case. I'm a sucker for a happy ending and I should have known better than to expect one from this film, right from the start.

It wouldn't be something that I would recommend to many people, mostly because they have different interests, but also because it's not essentially a pleasant experience, despite being well made. So it was a good film, but if you are easily upset by the horrors of the world, I would say to skip it, because it was too harsh to even enjoy the glimpses of lovely bottoms dotted throughout.

709.89/1000.

'Moffie' is one of those films where a boy joins the military, goes through the random humiliations of basic training and Becomes A Man.

Conscripted into the South African military during the dying days of the apartheid era, Nick Van der Swart (Kai Luke Brummer) arrives at a training camp run by sadistic officers whose vocabulary appears to consist mainly of the word 'f***' (with an occasional 'c***' tossed in for variety). The next several months feature route marches, bullying in the barracks and the eating of vomit. There is also a tentative, platonic homosexual relationship with fellow recruit Stassen (Ryan de Villiers) - very dangerous as homosexuality is illegal. And always in the future lurks a posting to fight communist rebels on the border with Angola.

While the basic premise is not, of course, new, what makes this film different are the South African setting and the homosexual element (which, contrary to some publicity, is merely a part of the story rather than being the whole). As Nick, Brummer is a heartthrob in the making and I also found Matthew Vey, who plays Nick's cynical friend Michael, appealing. Hilton Pelser as the sergeant must have needed throat sweets to cope with all the bellowing he is required to do, but is also given a moment of awkward vulnerabilty. It might, perhaps, have been nice if de Villiers was given more to play with as regards his character; for such a pivotal role Stassen is curiously one-note, reduced pretty much to noble suffering. But that is not a major difficulty; this film is well worth watching. Seen at the London Film Festival 2019.

South African director Oliver Hermanus' film Moffie is a beautifully shot period piece depicting the experiences of a young conscript during his military service. The movie certainly has wonderful elements in terms of cinematography, aesthetics, musical choices or intensity of the topic and themes. The overarching theme of the movie is not evolving around race but sexual oppression at a time when being gay in Apartheid South Africa meant living the life of an outcast and criminal. Hence the title Moffie, an Afrikaan derogatory slang word for a gay person.

It is a coming-of-age story, centered around formative moments in the life of a sensitive young gay man, Nicholas, as he enters compulsory military service in 1981. There, he endures endless humiliation and is exposed to daily brutality and bullying that leaves us deeply unsettled. We see the world through Nicholas' eyes and even though he remains mainly a distant observer, we witness his tortured psyche and wished for him to be at a different place - at a different time when he is allowed to love without living in fear.

The film comes with an intriguing new angle, it's watch is a tough one but the powerful story makes it all worthwhile.

This is a highly commendable film for various reasons.

It does a good job detailing contentious issues of that time in that setting, surprisingly in a non-judgemental way - the viewer is allowed to make up their own mind. The production crew did excellent work in securing the props and locations of the day, sadly only someone like myself who was there would appreciate the details.

The director and editor succeed in recreating the atmosphere of the times and what it felt like to be a recruit in the SADF. (I was once that scared boy on the train. I saw what happened to homosexual recruits.)

The director is someone who would have been a victim of the Apartheid system, yet his own views are undetectable. Kudos for being an impartial story-teller.

There are metaphors for today by way of prejudice and manipulation. You might also ask yourself what you would have done if you were him? Running away was not an option; it was police state then.

All iconic movies have a strong and/or positive ending. If this movie had that it would have reached far more people. Nevertheless, a thought-provoking watch wherever you're from.

This film has its heart in the right place in its examination of racism, masculinity and the dehumanising nature of the apartheid regime. It's competently filmed and there are several subtle and moving moments, particularly the childhood flashback and the film's final scene. However the subject matter of the film is grotesquely awful, and the army boot camp aspect, which is the majority of the film, is both a well-worn trope/cliché and an endurance test for all involved, - psychological brutality, physically violent and thoroughly unpleasant viewing. To be fair, I should disclose that I loathed the first half of Stanley Kubrick's Full Metal Jacket for much the same reason. This film has found an admiring audience, but that doesn't include me!

I read a review by 'johnrlee' who is trying to gaslight all of us by telling us this is not a film around a gay theme. This film i s a film about being homosexual in a toxic society. And still there are people who try to manipulate an audience by telling them this is a film about something else. This world still needs many films like this until people like 'johnrlee' aren't getting away with nonsense anymore. Besides this: this is a class A film. Agreat director, great cinematography and incredible musical score.

"Moffie" is a powerful film that portrays an unflinching picture of a society in spasm; brimming with paranoia, brutism and prominent self-contradiction. (1980 South Africa) Albeit serves a bleak yet necessary reminder of an era bearing grave historical importance. Inferring that we are strides away from abolishing intrinsic racist ideologies; even as fundamental as to exist and to love without living in fear. Worth watching.