WRITERS: PRODUCERS: SCRIPT EDITOR: WOR I#' TIT(E: TA'(I#E: $ORMAT: 'E#RE: RU##I#' TIME:

Damon Heatlie, Damir Radonic & Angie Mills Damir Radonic & Angie Mills arima E!!endi !or t"e #ational $ilm & %ideo $o&ndation Do)n and Dirt* +,een Do)n so (ong don-t no) W"ic" Wa* is U./0

$eat&re $ilm !or Cinematic Release 'rotes1&e Drama 23 Min&tes

TAR'ET AUDIE#CE: Do)n and Dirt* is li4el* to a..eal to a discerning and critical art a&dience 5 6ot" locall* and internationall*, more li4el* a E&ro.ean a&dience/ T"e !ilm is targeted at critical !esti7al release and rece.tion rat"er t"an !or a mass commercial mar4et/ WHAT I$ PREMISE: What if a large sum of money suddenly falls into the hands of an unloved patriarch who uses it to extend his tyrannical rule over his poverty-stricken family driving them to plot his murder. *What if a cynical and alienated (unloved) Xhosa patriarch acquires a ig disa ility payout! ut then refuses to share his wealth with his desperately poor ut scheming family"

S8#OPSIS: #he film is to e shot in $ang erg township in $out %ay! transposed into the fictional location of &oed %aai. 't takes the central story line from the original!(%rutti! )porchi e *attivi( revolving action around the patriarch in the figure of +oseph ,a ena. #he story rings out the daily struggle of a family as it attempts to survive poverty. 'ts central theme is deprivation. ,r. ,a ena is a Xhosa ( lack) man married to a coloured woman. $e lives a lonely and isolated life from his family and deeply longs for love. $e receives a si-ea le amount of money from insurance for the loss of his eye on the .o . /round him his family grows more resentful as he daily hides the money. $is growing paranoia and power isolates him even further until one day he falls into the arms of a stranger! the mysterious 0smerelda. $e moves her into the family shack and all hell reaks loose. #he family plots to kill ,a ena y poisoning him and his full fall is set into motion. #his small story told a out this small family intends to ring out the roader issues at play in the life of

the poor of )outh /frica today.

,AC 'ROU#D TO THE PRO9ECT: Do)n and Dirt* is inspired y the 'talian grotesque drama 1%rutti! )porchu e *attivi(! (2gly! 3irty and %ad(). #he film was directed y 0ttore )cola and was released to critical acclaim in 4567. 1%rutti! )porchi e *attivi( was a film ahead of its time. ,uch of the social commentary expressed through dark commentary went unnoticed and the film was commended for performance and cinematic daring rather than the issues it raised! namely homelessness! poverty! environmental degradation! consumerism! and ur an settlements in the seventies glo al economic crisis viewed through the prism of 'taly. #his compelling film daringly took up satirical comment upon issues of survival and poverty that are still relevant to contemporary concerns around ur an settlements. 1%rutti! )porchi e *attivi( is unsurpassed in its relentless exploration of the nature of survival. %y looking at the challenges of the poor through the lens of dis-identification encouraging critique and analysis! the pathos is found in the humour!in our humanness and the frailty of our interdependency. #he most critical aspect of the original film is first its setting. 't immediately .uxtaposes economic disparities in one shot y the contrast of a township against the ackdrop of a developing wealthy 8ome. )eemingly working with a found location to tackle real life issues of survival there is a sensi ility produced of the sheer hardness of daily life for the poor. &eneral use of availa le light and o servational camera work was more familiar in documentary filmmaking than fiction. #he aesthetic it provoked in 1%rutti! )porchi e *attivi( underscored the social themes of the film. #he way that the doyen 9ino ,anfredi leads a mostly unknown cast into such a realistic performance allows for authenticity to characters as well as context and daily life. /lthough highly crafted as a film there is a spontaneity rought a out y the situations which reveal characters and allow the audience to identify with the 1raw( and the 1authentic(. With all this complexity the story remains simple and powerful. #he film ends with the only 1innocent( character! the young girl! pregnant condemned to live under these conditions of survival and cycle of poverty. We argue for a remake of 1%rutti! )porchi e *attivi( on the asis that it can illuminate real life conditions for the poor :; years later in a place as far from 'taly as )outh /frica. T"e So&t" A!rican !ilm conceptualised y the producers is aimed at critical and artistic rather than popular release. 13own and 3irty( relies < in oth genre and story < on the principles of exaggeration and hyper ole. #he grotesque is deli erately emphasised in order to

make a igger statement a out poverty and deprivation in a *ape #own informal settlement the fictional &oed %aai ( ased on $ang erg! *ape #own). =n the contrary! it is meant to unsettle viewers and make us question our own complicity in the status quo that the film wishes to depict. #he protagonist is likewise not the most amia le hero we will come to meet. 'n the film < character takes precedence over plot. *onceptually speaking! the film is less concerned with an action-packed and expositional (cause and effect) plot than with delving into how people (characters in the film) are driven to extreme ehaviours ecause of their dire conditions. 'n terms of elieva ility then! resonance needs to come from the characters and from watching the incredi le lengths people would go to in order to counter or cope with the deprivation in their lives. #he film is concerned with the idea of relative deprivation < that we do not know who we are unless we compare ourselves with others. %ecause &oed %aai (like $ang erg) is a shantytown remarka ly located in the heart of a luxurious and privileged neigh ourhood! its residents are constantly reminded of .ust how little they have. #he plush real estate surrounding &oed %aai is a ceaseless reminder of what the slum>s residents aspire to ut will never achieve? a daily! almost pornographic reminder of the lack and deprivation in &oed %aai. @iving in an extremely poor slum surrounded y extreme wealth! is a recipe for extreme ehaviour < and this is what we find in &oed %aai.

Conte:t&all*S&6;ects location Peo.le

MOTI%ATIO# $OR HA#',ER' MOTI%ATIO# $OR A CAST MADE UP O$ (AR'E(8 CAST COMMU#IT8 MEM,ERS MOTI%ATIO# $OR CO((A'E

Hang6erg Ca.e To)n as Setting !or 'oed ,aai 8ecent news reports showed riots in a small community in *ape #own! $ang erg. #his traditionally 1coloured( community threw rocks and took up arms in protest against the prospective demolition of their informal settlement. #hey cited as part of their discontent the failing service delivery y local and national government officials to their living needs which in turn had forced a growth of the informal sector of the township. Omnes 7iae Romam d&c&nt. 2rgent needs for shelter y new 1ur an poor( are giving )outh /frican cities new shape. 'nformal settlements (often referred to as squatter camps or shanty towns) are dense settlements comprised of communities

housed in self-constructed shelters under conditions of informal or traditional land tenure. 'nformal settlements occur when the current land administration and planning fails to address the needs of the whole community. #hese areas are characteri-ed y rapid! un-structured and un-planned development. /s such they are characteri-ed y a dense proliferation of small! make-shift shelters uilt from diverse materials! degradation of the local ecosystem and y severe social pro lems. *oloured *ommunity 'n )outh /frica! coloured communities came a out during the &roup /reas /ct of 45A; when people were forci ly moved to locations to e grouped with their 1own(. #his particular group was positioned etween lacks and whites! as mixed race! to e less than white ut etter than lack. #he *ape coloured community evolved over :;; years from the colonial 1 astards( raised in the domestic quarters enslaved as manual agricultural workers into modern day li eral economy driven speciali-ed manual workers. #hey were given limited skills and opportunities! marginali-ed as cheap la our as fisherman! factory workers! tradesmen... &eneral unemployment turned many to look for alternative means to earn their wages! including growing illegal activities. #he communities have ecome criminali-ed ruled y crime lords who have a sem lance of power where they can define the rules and regulate the lives of those dependent on them. Social conscio&sness !ilms #oday a new stream of social consciousness films is currently in the making. )uch films are raising awareness a out the living conditions! the socio-political and economic contexts within which poor people make life and survive. #he success of socially conscious films with international audiences shows a growing interest in the lives of the underrepresented. With the worldBs eye on )outh /frica the film is poised to illuminate real conditions for people on the ground. 't is a story that will have glo al and local resonance and we elieve find audiences much like those drawn to 1)lumdog ,illionaire( ('ndia) and 1*ity of &od( (%ra-il). #he time for such a film a out )outh /frica is now. ' wish ' could convey what /frica was like. ' have experienced nothing like it. /frica has its own personality. )ometimes it is a sad personality! sometimes impenetra le! ut always unrepeata le. /frica is dynamic. 't was aggressive! on the attack. S8#OPSIS

E8 CHARACTERS 9ose." Ma6ena! (Xhosa! A6)! hails from the former #ranskei. / welder y

trade! ,a ena has een working as a oat mechanic at the har our for the last two decades. $e lives with his coloured wife! 3oreen! and largely informally-employed extended family in the coloured township of &oed %aai! *ape #own. $is ho y is drinking and strolling around with his attered hound! 9&;&, a friend and confidant. / itter and cynical patriarch of a squalid compound of loosely connected shacks! ,a ena! is at loggerheads with his entire family. 'n his view +oe ,a ena has een disadvantaged his whole lifeC deprived of opportunity y the apartheid government! deprived of a home after ecoming a migrant! deprived of his dreams to ecome a musician! deprived of the new riches amassed y lacks and whites alike in the 1new( )outh /frica. ,ost fundamentally he has een deprived of the love and respect of his family! even if his own itterness has played a large role in this. #his sense of deprivation and worthlessness sits at the root of his unhappiness and frustration with life. )o when ,a ena comes into money! he refuses to share his money with his family and instead uses it to dominate them. ,a enaBs him! and in order into his low self-esteem causes him to compare himself to others around so the irony of the story - he needs his family to be poor for him to be rich. $e pro.ects his own sense of worthlessness family.

,a ena is oth cruel and generous. $e is shameless in his comments and ehaviour. $e roundly a uses his family and community! lo ing them with whatever is convenient or availa le. %ut underneath this fractious facade ,a ena is a roken romantic who long ago lost hope in life. $is remaining loves are his eaten-up trumpet from his days gone y! his dog +u.u! and his youngest daughter! Drincess. Doreen Ma6ena! (*oloured! A:) is ,a ena>s wife of thirty odd years. / lifetime of hardship and trying to keep things together in the face of poverty has left her disillusioned with life and her marriage. )he lost her .o ! along with a num er of women! when the fish factory where she was employed closed down. 3oreen is a survivor and pragmatist. )he is the family organiser! the realist!the one who plans and commands. )he cares a out her home which she tries to keep together in the face of entropy. )he spends much of her time in conflict with her hus and! although once upon a time he serenaded her with a trumpet. $er disappointment in life is pushed into revengeful rage when ,a ena humiliates her y declaring his love for 0smeralda.

Princess Ma6ena (*oloured! 47) is the figure of udding possi ility in the ,a ena family. )he is at the crossroads etween girlhood and adulthood. )he acts as the liminal figure in the story? one with a prospective future.

Esmeralda (White! E5). /n overweight FentertainerB from 9ami ia who drifts into the nocturnal she een world of &oed %aai! she is ,a enaBs lind spot. )heBs not very right and says very little. $is infatuation with her is a vanity pro.ect! a product of his low self-esteem. While he feels valued as a man! it is purely his money that attracts her. #his is clear to everyone except him. <Moose= Moosa (*oloured AG yrs old) is ,a enaBs main rival. #his roadset successful man with several sons once had a rief teenage fling with 3oreen. $e! along with his smarmy white partner! 9ac1&es! are ehind the Dortofino development pro.ect. ,oosa grew his fishing usiness post- apartheid y uying his license from corrupt officials. )uperficially a FrespectedB usinessman and community leader! he is involved in shady and corrupt dealings! including the illegal perlemoen trade. #he esteem partly flows from the fact that he keeps his family together! and runs a ooming family usiness. /s a community figure he is also a patron at large of &oed %aai.

TEAM E>ECUTI%E PRODUCER ? Donald / Ran7a&d

/cclaimed 0xecutive Droducer 3onald 8anvaud of /nglo-'talian origin and with a Hrench name has amongst a stellar list of films produced 1Harewell my *oncu ine(! 1/ *onstant &ardener( and 1*ity of &od(. 't is upon this rich experience of working in /frica! /sia and @atin /merica that 13own and 3irty( can e realised oth through financial and actual production support. Iey to the remake of 13own and 3irty( is his experience working in the favelas of 8ioJ %ra-il with a cast of nonactors to make 1*ity of &od( a film that went on to win an =scar as well as widespread international distrution. Hor )outh /frican audiences! this film from the early 455;s still resonates as expressive of similar conditions on the ground.

E>ECUTI%E PRODUCER 5 Damir Radonic

3amir 8adonic immigrated to )outh /frica from former Kugoslavia in the early 455;s. $e enters the film usiness from a ackground of architecture! pro.ect management and ur an design. $is keen interest in )outh /frican ur an development and issues around housing rought him into a position to understand film as the right medium to create social awareness around those topics. $omelessness and informal settlements are the core of his interest and possi ility of adaptation for 13own L 3irty( came as clear opportunity to tackle these concepts as glo al rather than local phenomena. /s 0xecutive Droducer and

3irector he has recently reali-ed his first feature film 1#aka #akataM(! a light hearted )outh /frican soccer comedy. 3amir will act as oth 0xecutive and *reative Droducer on 13own and 3irty(.

DIRECTOR @ WRITER 5 Angie Mills /ngie ,ills earned her degree in /nthropology! post-colonial theory and film studies at the )tate 2niversity of 9ew Kork. )u sequent to that she has een engaged in a num er of capacities in the )outh /frican film and television industry over the past 4A years including as a commissioning editor at the )/%* and director on the local drama series 1'sidingo(. /s script developer she has worked on the international feature films 1,ax and ,ona( and 1#he %ird *anBt Hly(. 'n G;;N /ngie was invited to participate in the *annes film festival as a panelist alongside other /frican women filmmakers. )he is also producer on the feature film 1#aka #aka-ta(. /ngie is the appointed writerJ director on 13own and 3irty(. CAST

CREW TREATME#T +Ultimatel*, an* sign or )ord is s&sce.ti6le to 6eing con7erted into somet"ing else, e7en into its o..osite/0 )tatements on /ppropriation (G;;5) ,ichalis Dichler 3eprivation is a multidimensional concept. 'n the sphere of economics! deprivation manifests itself as poverty? in politics! as marginali-ation? in social relations! as discrimination? in culture! as rootlessness? in ecology! as vulnera ility. #he different forms of deprivation reinforce one another =ften the same household! the same region! the same country is the victim of all these forms of deprivation. %ecause the poor are often cut off from the decisionmaking process of their communities! discriminated against y other stations in society! cut off from a iding roots in the community! and relegated to occupy environmentally unsafe areas of societal space! the solutions to their dilemma require a multifaceted approach ased on an understanding of roader deprivation.

#he director will take as his departure point for the aesthetics of the film the work of collageJcompositing. #he screen will e split into three frames! the main frame! the side ar and the top ar.

Main $rame: #he film opens! early morning! ha-e of smoke from fires! with a young girl carrying a ucket on her head meandering in a wide locked off shot down a dusty road towards a water point. )he walks etween corroded and rightly coloured shacks and comes out into a 1clearing.( 'n her path people criss-cross on their way to work! doing early morning tasks! students off to school! women selling mealies on the side of the road calling out! chickens clucking peck at the hard ground! taxis lare their latest kwaito hits()/ popular music)! oys cat call and girls walk y! the girl continues on her path undeterred. #he whole swirl of life happens against a collage ackdrop of shacks stacked against one another! leaning into one another! some old and leaking! others rightly painted! others decorated eyond elief! a few with flowers growing on a small patch of land! a lone tree ends outside a lime green metal wall! cloth sack hangs over roofs to protect the inside of the homes from rain and rocks hold the sacks down. *ut to mid shot of a group of women! gossiping! discussing their gam ling of the *hinese num ers game! as they fill uckets and passing the latest news a out what is happening in the neigh orhood. #he young

girl arrives to collect her daily supply. Side ,ar: / close up of dirty water from a polluted river swirls on the side of the main frame! some plastic ottles and a cup floats y. To. ,ar: / corroded roof! filled with holes! leaks.

*ollageJcompositing is visi le in a num er of forms that are distinctly )outh /frican and township ased. #he way the dwellings take their shape through the notion of availa leJfound elements rather than using 1purpose made( uilding locks. )outh /frican 1)hacks( are adopted! orrowed! usually recycled of manmade visual culture. #he appropriation of consumer markers and rands towards creating intimate spaces that hold dignity and ownership is a powerful dialectic around power relations etween the haves and have nots. =ur film intends to draw on these aesthetics and further to foreground the recycled nature of the ways in which people reuse materials towards creating newness! contemporary life! and experientiality. 1#he assem lages do not distinguish primarily etween which parts are supposed to e original and which have een found and gathered from someplace else? assem lages are interested in what works! what has social effects.O /ssem lage #heory and )ocial *omplexity (G;;7) ,anuel 3e @anda

#hese ur an settlements marked y different forms of transport where children run through streets pushing old tires! and rand new upmarket cars can e glimpsed as well as rows of taxis lining roads ready to pick up their customers! who range from domestic workers! day la ourers! school kids! hawkers! who all shuttle their way daily into the roader nexus that also makes their lives.

#he mixture of rural meeting ur an is evident in these very .uxtapositions and offers ways in which there can e new readings of migration. #hese migrations speak to corridors of flux where the rural and modern intermix as do itinerant la ourers who move in and out against those more 1settled( populations! and immigrants mainly from other parts of /frica who also settle on the peripheries creating their own makeshift shelters.

1#he migration from rural to ur an areas has added interesting and imaginative interpretations to the creative process and transformed these mere physical dwelling places! as hum le as they seem! into spiritual a odes. #here is no fear of contradiction in the ruralmeets-ur an aesthetic that simultaneously and unapologetically .uxtaposes cow horns sourced from ritual slaughter in honour of ancestors! hanging over the doorpost against ,adonna-and-child icons reverently covered in protective clear plastic paper hanging on the Fliving roomB wall. P)hack *hic! *raig Hraser! G;;GQ ART DIRECTIO# : +t"ere is as m&c" +&n.redicta6le originalit*0 in 1&oting, imitating, trans.osing, and ec"oing, as t"ere is in in7enting/0 )tatements on /ppropriation (G;;5) ,ichalis Dichler

#he ways in which people decorate the exteriors and interiors of their homes creating wallpaper and decoration through packaging! la els! using unconventional colour and placing old o .ects alongside new! traditional and modern all displaying innovative ways of .uxtaposing o .ects as well images towards eautifying shacks! is a key visual reference evident in the landscape of township life.

1@iving interior walls with randed FwallpaperB < surplus packaging for popular )outh /frican products such as @ucky )tar (pilchards)! %ull %rand (corned eef)! @ion matches! )unlight soap! *olgate! Dalmolive soap and Ioo aked eans < is a popular dRcor scheme! initially employed of necessity (functional for filling holes in the walls and covering the unsightly lack of uniformity in the uilding materials)! they are more ecoming a design feature in themselves.( P)hack *hic! *raig Hraser! G;;G

,anuel 3e @anda>s latest ook! A #e) P"iloso."* o! Societ*: Assem6lage T"eor* and Social Com.le:it*! starts from the level of individual! personal relations and continues gradually all the way to the level of nation state and eyond. /ll phenomena are defined as emerging from d*namic s*stems! which are in constant flux. #hrough defining the contemporary world as an entity of extreme complexity! ,anuel 3e @anda simultaneously critici-es the dominant postmodernist linguistic analysis in social science. #his new approach to social ontology should instead assert the autonomous nature of social entities! taking &illes 3eleu-e>s t"eor* o! assem6lages !or its main !rame)or4/ T"e com.onents in t"e assem6lages are de!ined 6* t"eir material dimension and territorialiAing and deterritorialiAing a:is/

T"e* are "istoricall* contingent, "eterogeneo&s and sel!?s&6sistent, gi7ing t"e .ossi6ilit* to ta4e one assem6lage and insert it into anot"er )it"o&t destro*ing its identit*/ T"e main c"aracteristics o! t"e relations"i. 6et)een an assem6lage and its com.onents are com.le:it* and non?linearit*, and ,anuel 3e @anda elieves that the task of social science is to analy-e them as such.

CI#EMATO'RAPH8: Hrom a visual point of view our film intends to draw on collageJcompositing in several waysC #o allow the frame to fill in through collage and also to split the screen towards photomontage to remark on the different issues and themes at play in the story i.e. gender! environmentalism etc. &iven the layered nature of social integration! to the layered context which people live and the tensions of survival in which they find themselves! down to the very layered nature of the shack in which they live! collageJcompositing speaks to all these levels. #he frame split into three will foreground on one hand the main drama of the story! provide another su plot J social comment through a second 1side ar( frame on the environment and again allow for a third frame which sits on top to hold together the other two.

#o achieve such 1Dhotomontage( we will shoot three different scenes with locked cameras clearly understanding where are the positions of the splitJdivision lines. )cene will vary in shot si-es and dynamics. Hinal composition will happen in postproduction. In t"is model, t"e role o! interte:t&alit* is recogniAed as central to t"e com.osition o! Bne)B material/ CO(OUR A#D (I'HTI#':

&rayness of township galvani-ed roofs and walls contrasts with lue sky and patches of tin metal walls painted in primary colours. 8ichness of textures and asic rectangular shapes collaged next to one another occasionally patched with part of a recogni-a le rand advertising oard reclaims new life as a shack structural element. )hapes are rather camouflaged hiding edges and orders and appear as an organic manmade fa ric stretched in the infinity of the *ape #own landscape. #he need for set design will e minimal as the township gives endless possi ilities to find perfect exterior and interior locations. @ocation scouting will e done in accordance with the notion to shoot using availa le light. 2se of natural light is imperative and additional provisions will e made only for few night and interior shoots. #he use of natural life is a gain towards capturing lived life.

SOU#D: #he cacophony of children! fires crackling! horns lowing! shouts! a gun goes off! chickens cluck! vuvu-elas intermittently low! pots clanging! the latest hits from the radio! water gushing from a water point! a ies crying < in sum the full experiential sound of lived life will fill the film. We will take as much naturalJavaila le sounds as possi le and through the diagetic forge meaningful relationships etween the images.

MUSIC: 8emix of availa le music intercultural and orderlessJuncontained within scene! free to flow from the street into the interior and often used as noise depicting 1sound pollution( as another am ient element of township living.

(OCATIO#: We currently have a transcript and character exploration of the ,a ena family set in a hypothetical Western *ape #ownship (please see

synopsis). We have chosen $ang erg! which is such a community as the context and su .ect for the remake of 1%rutti! )porchi e *attivi(. )et in the spectacular ay of $out %ay (part of *ape #own ,etropolis)! this township and informal settlement stands in stark contrast to the rich developments across the way. 'n the 457;s people were forci ly removed from agricultural lands which although ancestral they had no land rights to! and they were displaced onto a patch of land that sits under the famous landmark of the 1)entinel( which marks every tourist postcard of $out ay. 'nvisi le on the post cards! this small coloured community makes its living primarily off the sea through fishing and in illegal activities like a alone poaching and the drug industry that moves through surrounding waters linked to triads and glo al trade. $ang erg is in effect a corridor of flux? transportation! migrant la our! dwellings that go up over night! people moving in and out ! make this an 1ideal( space in which to explore intercultural dynamics! survival! life! flux! poverty! hardship! transactional life and transcendence. We would like to flesh out more contextually the issues of environmentalism! poverty! homelessness and xenopho ia that effect the story of the ,a ena family. We need to engage in a fair amount of qualitative research to develop the script over a num er of rewrites to its fullest potential.

Do)n & Dirt* Prod&ction Sc"ed&le C3DE @ C3DF Time De7elo.ment ? Pre.rod&ction ? Prod&ction ? Post.rod&ction ? Mar4eting@distri6&tion ? end ,ay G;4: +une < )eptem er G;4: =cto er G;4: 9ovem er G;4: - ,arch G;4A ,ay G;4A