Yesterday

As an American student, my understanding of HIV/AIDS is usually done by research and books from class. This movie so strongly corresponds to much of the information given in books like "African Feminism" and "Black Death: AIDS in Africa" to name a few. The depiction of Yesterday's grief and acceptance, in addition to her husband's denial, rings true and brings tears to your eyes. One interesting point is the fact that HIV is not even mentioned until half way through the movie, even then it is called 'the virus.' This could mimic the attitude of silence by Africans on the issue. Other fine points about this film include the fact that is truly one story. Yesterday is not then compared to thousands of other dying women, although we know that this is the case. We see the world through her eyes and in her small village. While the pacing sometimes may drag, it is a spectacular film spoken in the beautiful Zulu language. I would definitely recommend it and see it more than once.

I will be candid and divulge my biases. I am a person with AIDS and cancer. I am 55 years old. I have seen most of the AIDS movies, made for better or worse over the years. I have no particular associations with Africa. A rare 10 vote goes to this film because it is, in its absolute simplicity, a perfect primer on the effects of AIDS on plain and simple lives. There are no greeting card sunsets. There are no weepy hand-holding scenes between the rich parent/spouse/sibling and "the victim" on the lawn of a palatial estate in America. There is exhausting repetition of the details of hard lives. There is the mean ignorance of people who see themselves as unaffected and superior. There is the sudden dependence of the counter dependent and unfaithful husband. There is the forgiveness by the infected wife, who already has too much to bear as an impoverished woman and mother. There is her faith, her dedication, her love to the end in a relationship that has brought her own early death. And there is the stark and indifferent beauty of Africa itself, photographed by a lover's eye. There are no surprises here for anyone, unless he has lived with his head up his Developed-World assets. There is just a map to better understanding of a largely shared human condition.

A lingering sideways tracking shot across a bare expanse of burnt, tussocky grass towards distant, shadowy mountains takes us into the first moments of Yesterday, the first film ever made in isiZulu. The quality of the film is apparent at once. The D.O.P. has a real aesthetic eye, and this opening shot, a beautifully judged and mesmerising piece of photography – accompanied by the inventive and idiosyncratic music of Madala Kunane, whose range of styles throughout the film is impressive – announces a film of strong images and expert direction (Director, Darrell Roodt). The shot comes to rest on the figures of two young Zulu girls, a mother and a daughter, as they amble slowly up a tortuously long road towards an unknown destination. The daughter asks simple questions - the type that make youth appear so endearingly innocent: "why am I not a bird? Then I could fly where we're going." It is a moment of beautiful, unforced poetry (the sort that self-conscious poets might do well to observe) and sets the tone for the film that is to come. Yesterday concerns one of the most pressing issues in Africa today, the spread of AIDS, which has in recent years reached epidemic proportions. From that premise, it soon becomes clear where the two travellers are headed: the nearest doctor. This trip is the beginning of a terrible descent – the progenitor of chain of scarifying revelations, the first of which is that the young mother – the title character, Yesterday (played sensitively by Leleti Khumbalo, ideally sympathetic casting with her angelic features) – is diagnosed with AIDS. As the film proceeds we witness how Yesterday deals with the horrifying burden of sickness in a society that is still largely ignorant of the causes of disease, and highly suspicious of those who succumb to it; and in a country whose government offers no real material or moral help for such extremity. Yesterday is an examination of life under the tyranny of the incurable. Nevertheless, the film eschews any overtly political comment (though there are a couple of scenes that tempt us to draw our own conclusions) and remains a purely personal story of a young woman's fight against the invincible. Yesterday is a young mother living in a small African village, trying to raise her daughter and give her the education that she herself was denied. She knows nothing of AIDS when the horror of knowledge is thrust upon her. But her natural perspicacity allows her to see clearly into the life of things, and as she faces the inevitability of premature death, she draws strength from within herself – though it is clear that Yesterday herself is little removed from the youthful innocence of her own daughter when she becomes inheritrix to the worst of the thousand natural shocks that flesh is heir to. All that remains for her to do is try to shield her daughter from them. Events conspire against her, yet bolster her at the same time. A terrifying confrontation with her husband (a brilliant cameo, superbly played by Kenneth Khambula), the man who gave her AIDS, leads to a heart-rending reconcilement. Ostracism by her fellow villagers – who imagine the disease to be the result of some moral peccadillo – leaves her to fight the disease alone; but this itself leads to friendship with the village's rationally-minded and sympathetic schoolteacher (played by Harriet Lenabe). Death gives her a determination to live. In every case the bad engenders some good. In charting the effects of AIDS on the person and personality of this young woman (and, frighteningly graphically, in her husband) we see the human condition reach both its nadir and its zenith. The disease is at once catastrophically demoralising and vigorously ennobling. Yesterday's courage in the face of irremediable adversity is tearfully potent. She is a heroine in the true sense of performing heroic actions against the odds. Illness forces her to strength, fear engenders courage, and in the darkest oppression her spirit seems to soar. Yet the film never descends into self-pity. Rather, it makes clear that AIDS is simply a part of life in Africa – something that some people, at some time, will just have to deal with. Pity exists in that very coldness. The relationship which grows up between Yesterday and the teacher becomes the most important aspect of the film, because the teacher is in effect the only person in the district who understands what AIDS is; and because of that understanding, she able to evince compassion. Here, perhaps, is the film's agenda, its philosophical crux: a subtle plea for the dissemination of education and greater awareness in Africa, since only understanding can engender reason and humanity. It is a point that is not pushed, nor does it need to be, it speaks so eloquently for itself. As a moral fable, Yesterday is wonderfully judged. The decline of Yesterday's physical health becomes the ascension of her mental courage, and the strength of character she displays by the end of the film allows one to believe that the human being can rise above its own condition when it needs to. But the film does not stray into the cheapness of tearjerking. It remains firm, stark and moving in its own integrity.

Filmed on a microbudget, Yesterday relies on the potency of its own sombre story to push it forward, the stark beauty of its scenery, and the powerful performances of its cast. Shot with an unerring eye for detail and burgeoning with picturesque photography, it is surely one of the most profound and interesting films to be released this season. Yesterday is playing at cinemas nationwide.

I saw this movie on a plane from Johannesburg to New York. I found it riveting and intensely sad. The acting was superb and I felt the film really captured the tragedy that is the SA AIDS epidemic today. The music added to the poignancy of the story. I thought the film really brought home the SA situation in a way that no newspaper or TV documentary every could or ever has. I sobbed through this movie at times as the portrayal was so real, and the director managed to capture village life so excellently. Kudos to the writer, producer and the actors for creating a superb film - a real feather in the cap of the SA film world. This is a world class film that everyone should see!

Well, really just about living in Rural South Africa. Living in south Africa the HIV/AIDS pandemic (and governments response to it), can make one feel very depressed about the where South Africa is going. But this movie is quite uplifting. Yesterday faces a number of hardships already (she lives in relative poverty, separated from husband for most of year, no education), but she when she comes across another, HIV/AIDS, she faces it head on. She is determined to that her daughter will get an education. Because she has this to fight for, she stays positive. When the doctor comments on how well she is doing, she comments it is her mind that is strong, not her body. Mental strength is something needed all round SA in fighting the Pandemic. From patients, but also their communities, so that HIV positive people will find support rather than stigmatization.