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– Alum’s winning film shines spotlight on indigenous storytelling at film’s most prestigious stage

LUBUNYU, a film by Murena E Netshitangani, a 34-year-old Postgraduate Diploma in Motion Picture Production graduate from the Department of Visual Communication at the Faculty of Arts and Design, Tshwane University of Technology, has achieved the impressive milestone of being selected for screening at the World Film Festival in Cannes, France, where it won Best African Film. In an interview with Gerrit Bester, Netshitangani expressed his excitement and the inspiration behind the film, which demonstrates that with creativity and dedication, student filmmakers can achieve extraordinary heights.

Murena E Netshitangani (34), a Postgraduate Diploma in Motion Picture Production graduate,
on set of his film, LUBUNYU, that won Best African Film at the World Film Festival in Cannes.

Congratulations on your selection for the World Film Festival in Cannes. How does it feel to have your work recognised at such a prestigious festival? It's a powerful affirmation that our storytelling resonates beyond borders and that the voices and narratives rooted in our communities, especially those that are often overlooked or misunderstood, deserve a global platform. 

LUBUNYU is a deeply personal and culturally rich story that interrogates justice, tradition and deception, and to see it recognised on a stage as prestigious as Cannes gives me hope that authentic African stories will be seen, heard and valued. It's a selection not just for me and my team, but for everyone who believes in the power of indigenous storytelling.

Can you tell us about the title of and inspiration behind your film? What motivated you to tell this particular story? The title LUBUNYU translates as "The Naked Intruder", a name rooted in both personal memory and cultural history. The inspiration for the film came from a haunting real-life experience during my childhood in Ha-Khakhu, a village in Venda, Limpopo. 

There was a mysterious figure known as Lubunyu who was notorious for terrorising the women of the area. One night he entered our house with the intention of attacking my sisters. I happened to be awake and asked my sister, Tshifaro, to accompany me to the kitchen to fetch water, where we met him: a dark, frightening and naked man. We screamed, he pushed my sister aside and jumped over me as he fled. The memory stayed with me, and as I grew older, I began to see parallels between that terrifying night and the ongoing crisis of Gender-Based Violence in our country. 

Women continue to face rape, abuse and trafficking. I felt a deep responsibility to revisit this traumatic memory and transform it into a powerful narrative – one that not only confronts the darkness, but also challenges systems of justice and silence in rural communities. 

What was your creative process like while making the film? Were there any challenges you faced that were particularly memorable? The creative process behind LUBUNYU was both enriching and challenging. In shaping the narrative, I immersed myself in films with similar tones and themes to better understand the cinematic language that would best serve this story. 

I also worked closely with Venda cultural experts to ensure authenticity and respect in the portrayal of our traditions. I'm particularly grateful for the invaluable wisdom and guidance I received from Vho-Thovhele Thifhindulwi Khakhu, Musanda Vho-Takalani Khakhu and Musanda Vho-Madzikule Netshiavha. Their contributions were fundamental to grounding the story in its cultural context. 

The production itself had its challenges. One of the most memorable moments was when a 50kVA generator caught fire during filming – a major setback, especially as we were shooting during a period of intense load-shedding. On another occasion, our lead actor suddenly disappeared without notice, bringing production to a halt for a whole day as he was central to all the remaining scenes. These moments tested my resilience, but they also deepened my commitment to telling this story.

LUBUNYU is not just a story; it's a call for awareness, accountability and change.

In the end, every obstacle became part of the film's journey, and I believe that perseverance can be felt in every frame of LUBUNYU.

Who were your biggest influences as a filmmaker, both in this project and in general? My greatest influences as a filmmaker, both on LUBUNYU and in my wider creative journey, include cinematic pioneers such as Djibril Diop Mambéty and Ousmane Sembène. Their fearless storytelling, rooted in African realities and rich cultural textures, has profoundly shaped my approach to narrative and visual language. Their work has taught me the importance of telling our stories unapologetically, with depth, nuance and truth.

Closer to home, I have been deeply inspired by the legendary South African filmmaker Ntshavheni Wa Luruli. His continued support, mentorship and guidance throughout the making of LUBUNYU was invaluable. He not only motivated me, but also gave me practical advice on the do's and don'ts of navigating the creative and production process. His belief in my vision helped me stay grounded and his wisdom pushed me to trust in the power of the story I wanted to tell.

How has your time at ´óÏóÊÓƵ’s Motion Picture Production programme shaped your filmmaking style and approach? My time at ´óÏóÊÓƵ's Motion Picture Production programme has been truly transformative, shaping both my filmmaking style and my overall approach to storytelling. The programme provided a strong foundation in technical skills, from directing and cinematography to editing and sound, which allowed me to confidently experiment with form and narrative. More importantly, it encouraged me to find and hone my own voice as a filmmaker.

What stood out most was the emphasis on storytelling that was both personal and socially conscious. Being in a space that nurtured creativity while encouraging critical engagement with our cultural and social contexts helped me develop a style rooted in authenticity, symbolism and emotional depth. 

Exposure to different genres, collaboration with peers from diverse backgrounds and mentorship from experienced lecturers all played a key role in shaping the kind of filmmaker I am today – one who values both craft and meaning in every frame.

What message or themes do you hope audiences take away from your film? The central message of LUBUNYU lies in its powerful exploration of justice, identity and deception. Through the haunting and symbolic narrative of King Madadzhe and Ndanganeni, the film explores the devastating consequences of misplaced trust, unjust punishment and suppressed truths. 

LUBUNYU is about justice and how it can be distorted when driven by fear, revenge or social pressure. The king's abolition of the rock is a step towards humane governance, but when terror grips the village, he is forced to resort to brutal methods. This raises important questions about how justice is administered and whether violence can ever be justified in the pursuit of peace.

The film also explores identity, particularly through Ndanganeni, who embodies duality: a servant by day and a predator by night. His ability to hide his true nature and manipulate the king's trust shows how identity can be a weapon and how evil often hides behind a familiar face. 

Deception is at the heart of the story as the real Lubunyu hides in plain sight while an innocent man is blamed. This theme critiques how societies often misidentify threats and choose easy scapegoats rather than face uncomfortable truths.

Beyond this, LUBUNYU also addresses:

• The tension between tradition and modernity – King Madadzhe's intentions to reform old customs are noble, but without community engagement they leave him vulnerable to backlash and chaos.
• Gender-Based Violence and collective denial – The systematic terrorisation of women and the village's delayed response highlight the urgent need for accountability and protective structures.
• The spiritual and psychological haunting – Lubunyu is more than a man. He is a manifestation of repressed trauma, unresolved pain and the darkness that festers in silence.

Can you share any memorable moments or experiences from the production that stand out to you? For me, the most memorable moment was seeing my first professional production finally come to life. I'll never forget the very first scene we shot, when the camera started rolling and the actors started performing. Something shifted inside me. It was no longer just an idea or a script on paper. It was real. 

That moment confirmed that what I was doing was so much bigger than I had imagined; to see the characters come to life, to see the world we had built begin to breathe. It gave me a deep sense of purpose and pride. It wasn't just about making a film; it was about telling a story that mattered, with a team that believed in the vision.

What sets your film apart from others that will be showcased at the World Film Festival in Cannes this year? LUBUNYU stands out as a powerful and haunting allegory deeply rooted in indigenous South African folklore, yet resonating with universal themes of justice, identity and the perils of misplaced trust.

While many films at the World Film Festival in Cannes focus on polished urban narratives or globalised perspectives, LUBUNYU boldly explores the tension between tradition and transformation within a rural Venda setting – a perspective rarely represented on international platforms.

The film combines myth, horror and political drama to question moral leadership in post-colonial societies, with a uniquely African gothic tone that evokes the unease of colonial residue clashing with sacred indigenous knowledge. The character of Ndanganeni/Lubunyu is symbolic of how evil often hides in plain sight, protected by power and perception.

Visually and narratively, LUBUNYU blends oral storytelling traditions with contemporary cinematic techniques, using symbolism, silence and natural landscapes to heighten suspense and create a visceral experience. This film doesn't just tell a story; it reflects the fears, rituals and justice systems of a community under pressure. 

In doing so, it offers Cannes audiences a rare and authentic cinematic insight into the moral dilemmas faced in the rural heart of Southern Africa.

What advice would you give to current students or aspiring filmmakers who hope to achieve similar recognition in the industry? My advice is simple but powerful: tell the stories that only you can tell. Don't chase trends, chase truth. As a filmmaker, authenticity is your greatest asset. Root your work in your lived experience, your culture, your language and your perspective. That's what makes you stand out in a global sea of sameness.

Second, embrace the uncomfortable. Bold, meaningful stories often live in the shadows; in the places people are afraid to look or talk about. 

LUBUNYU reflects that risk. We explored issues such as Gender-Based Violence, community justice and the distortion of identity – topics that are deeply relevant but often silenced. Don't be afraid to be that voice. 

Also, learn to work with what you have. Our journey wasn't paved with endless budgets or high-end equipment. It was built on ingenuity, passion and a community that believed in the vision. Your limitations can actually sharpen your creativity.

Finally, study the craft and honour the process. Watch films from around the world, read scripts and understand the rhythms of editing, lighting, sound and performance. Film is a language, speak it fluently.

On set in Venda during the filming of LUBUNYU.

Never underestimate the value of collaboration. Surround yourself with people who will challenge and inspire you.

Recognition doesn't come from chasing the spotlight; it comes from building stories that shine light where it's needed most.

• The World Film Festival in Cannes (www.world-film-festival.com) operates by selecting films from around the world, primarily through online submissions. A jury of industry professionals then evaluates these films through private screenings and awards top films in various categories. Selected films are then presented to the public during monthly screenings and the public can vote for their favourite, with the "Best of Future - Audience Award" being given annually.

It’s a win for LUBUNYU in Cannes.