| What: Die Kwiksilwers (The Quicksilvers) – film (Sanktury Films) Director: Jordy Sank Screenplay: Gabriella Blumberg, Jordy Sank, Marista van Eeden Cast: Includes – Lida Botha, June van Merch, Susanne Beyers, Theresa Sedras, Jacques Bessenger and Ivan Abrahams Language: Afrikaans, with English subtitles Screening: In South Africa, from May 1, 2025 in cinemas |
Die Kwiksilwers (The Quicksilvers), directed by Jordy Sank is a film which beautifully conveys the intricacies, tensions and impasses in relationships between aging parents and adult children. Offspring want their aging parents to be safe. Seniors in decent health want to have agency to make their own decisions in life and enjoy what they can, while they can. The excellent screenplay (Gabriella Blumberg, Jordy Sank, Marista van Eeden) was nominated for a Silwerskerm Award and vividly foregrounds the battle lines between oldies and offspring. It is beautifully shot, with a soft gaze focus. I loved this film which strikes close to home for me, personally.
At the heart of Die Kwiksilwers is a vintage car – a Ford Granada, the Kwiksilwer which belonged to the late husband of Elsabe (Lida Botha). They went on road trips in the car on adventures and now she is stuck at home, with a carer regimenting her day, put in place by her concerned son Wikus (Jacques Bessenger). The car is a vital character in this charming and hugely entertaining film. It is the container of their life and memories, a potent symbol of her freedom and independence. Wikus has forbidden her to drive the car. It is hilarious what occurs. Elsabe and three elderly acquaintances embark on a road-trip in the car, to watch a meteor shower in Sutherland in the Karoo. Elsabe is the self-designated driver. She is determined to go star gazing with the unlikely friend-group. They must get to Sutherland in three days – and avoid Wikus who is on their trail.
There is a heist (I won’t plot spoil), a trance festival and shenanigans with pizza dough. It is a funny, quirky and poignant with protagonists who still lust for good times. The actress Lida Botha is in her 80s and so is the character, Elsabe. Botha who was nominated for a Silwerskerm Best Actress Award is phenomenal as Elsabe who breaks out of the mould of being the compliant older person, quietly but resolutely, claiming agency over life. Botha brings a wistfulness and yearning to Elsabe which prevents her being a cliché. Susanne Beyers as Mienkie does hit the spot as the feisty and fabulous older woman. She is the sidekick in her hip outfits and oversize spectacles, the older woman we adore because she is so positive and upbeat. But, the reality of aging is a lot tougher and this is brought out through Elsabe, Anna (June van Merch) and Katie (Theresa Sedras).
This film hits close and to others I know, with aging parents. We can relate. The presence of a car has become the leitmotif, a roadblock in our lives. My father-in-law who is 100 (almost 101) adores his old car (call it vintage, okay, it breaks down all the time) and is determined to drive it. Unlike Elsabe in the film, he has a valid car licence, which he received fairly recently, after being assessed that he was capable of driving. True story. Laugh or don’t laugh or cry. Is he a risk to other road users? Is he more likely to cause a serious accident than an 18-year-old hooligan who just got his licence? The car question is causing considerable tension with families who have 80-something parents. As with Wikus in the film, we are concerned for the safety of our elders and them not endangering anyone else, so how do we find a balance of assisting without curtailing independence? And what about their wishes and can we help them? Anyway, when they are in sound mind and relatively sound body, they tend to disregard what we say and do what they want. This dichotomy is voiced palpably in the screenplay as we see Wikus talking directly to Elsabe, his mom and seguing to talking about her in the 3rd person as if she is not there. We see her expressions of frustration as she faces his wrath but also his caring.
The American writer, Atul Gawande has written extensively on aging and he is very much a proponent on facilitating agency for older people, as much as possible. And this film for me is a call-out to heed the wishes of seniors, where possible, to enable them to live in their family homes and be part of a community. Yes, a great deal has do with health and money in order for that to happen. Elsabe has a carer in Die Kwiksilwers. Aging is costly. It is complicated for families and communities.
In his award winning documentary film, I am Here, Jordy Sank bore witness to the life of Holocaust survivor Ella Blumenthal. It was a witness film, a film about the legacy of a life remembered. In Die Kwiksilwers, Sank is bearing witness to aging and turning our gaze on older people who tend to become invisible in their dotage. They are not seen as people, just as encumbrances. Beyond the fun and entertainment factor of Die Kwiksilwers, older women on a road trip, it is an important film which grapples with difficult conversations and gives a voice to those who tend not to be heard. For instance, there is a lovely scene in the car, when there is a conversation, with the women blithely talking about living with surveillance, granny-cams and mobility aids.
Die Kwiksilwers won the Festival Favourite Award at the 2024 kykNET Silwerskerm Festival and won two other Silwerskerm Awards – for Best Sound Design (Sound Surgeon Studios and Morné Marais) and Best Makeup and Hairstyling (Hanri Neethling). Jordy Sank was nominated for Best Director, Susanne Beyers for Best Supporting Actress and Lida Botha and June Merch for Best Actress. The film was also nominated for Best Feature Film. It is in Afrikaans, with English subtitles. Go and see this gem of a film, with terrific performances, a heart-warming but intense and edgy narrative which packs a punch in delivering a kick-ass story.
✳ Die Kwiksilwers (The Quicksilvers) – (Sanktury Films). Images supplied.
