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26/09/2026

🎬 FILM 20 — MARTY SUPREME

“Ambition is easy to admire from a distance. It becomes something very different when you understand the cost of it.”

Marty Supreme feels like a fitting film to end this series because ambition is one of the themes that connects so many of the films I've chosen. What does it mean to want something so badly that it begins to define you? When does ambition become obsession? And what are we willing to sacrifice in pursuit of becoming extraordinary?

Those questions interest me deeply as a filmmaker, architect and creative entrepreneur. Creative careers are often romanticised. We see the finished film. The building. The award. The success.
But we rarely see the uncertainty, rejection, sacrifice and obsession required to get there.

Stories about ambitious people remind us that greatness is rarely a straight line. It is messy. It is complicated. And sometimes the greatest conflict isn't between the protagonist and another person. It is between the protagonist and themselves. That is why I think Marty Supreme is the right film to close this journey. Because ultimately, cinema is made by people who believe something can exist before anyone else can see it.

25/09/2026

🎬 FILM 19 — NO OTHER CHOICE

“Sometimes society doesn't create monsters. Sometimes it creates the conditions that allow ordinary people to become them.”

No Other Choice is fascinating because it explores the relationship between desperation, identity and circumstance. What interests me most is the way stories like this challenge our instinct to divide characters into heroes and villains. Real people are complicated.

People make decisions based on fear, pride, ambition, insecurity and survival. And cinema becomes particularly powerful when it forces us to sit inside that complexity rather than offering a simple moral conclusion.

Dark comedy is especially useful here. Comedy allows us to laugh at situations that might otherwise be deeply uncomfortable. Then, once the laughter disappears, we are left confronting the reality underneath it. That contradiction is powerful.

For us, No Other Choice speaks to the idea that social systems can place enormous pressure on individuals. Sometimes the question isn't simply: “Why did this person make that choice?” It is: “What circumstances made that choice seem possible?” That is where entertainment becomes social commentary.

24/09/2026

🎬 FILM 18 — ARRIVAL

“What if understanding another language could change the way you understand existence itself?”

Arrival is one of those rare science-fiction films that uses an extraordinary premise to explore something deeply human. At its centre is communication. But beneath the science fiction is a meditation on language, time, memory, grief and the choices we make despite knowing that they may hurt.

What we love about the film is its restraint. It doesn't depend entirely on spectacle. Its greatest moments are often quiet. A look.
A conversation. A gesture. A moment of understanding. That restraint allows the ideas to become the spectacle. And that is something filmmakers can learn from. You don't always need to make the image bigger. Sometimes you need to make the idea deeper.

Arrival also reminds us that science fiction can be philosophical without losing its emotional accessibility. It can ask enormous questions while still being about one person. That is perhaps the greatest achievement of the film. It makes something cosmic feel intimate.

23/09/2026

Tickets are on sale for the screening of our latest short film Dream Call. It’ll be screening at the Reel To Reality Film festivals in both Joburg and Cape Town. Visit their website! 🎥🎬

23/09/2026

Film 02 - The Tragedy Of Macbeth

23/09/2026

🎬 FILM 17 — DUNE

“World-building isn't about showing the audience a new world. It's about making them believe it already existed before the camera arrived.”

Dune is one of the most impressive examples of cinematic world-building I've encountered. As an architect and filmmaker, I am particularly fascinated by how Denis Villeneuve uses architecture, landscape, scale and sound to construct an entire civilisation.

The spaces don't feel like sets. They feel inhabited. The buildings communicate culture. The landscapes communicate power. The costumes communicate history. Even silence becomes part of the architecture of the film. That level of world-building demonstrates something important:

A fictional world needs rules. It needs a history. It needs cultural logic. It needs an identity. The audience doesn't necessarily need every detail explained to them. They simply need enough evidence to believe that the world exists beyond the boundaries of the frame.

That is the difference between decoration and world-building. As someone interested in both architecture and cinema, Dune is a reminder that space can tell stories. Architecture can communicate power. Scale can communicate insignificance. Landscape can communicate danger. And sound can make an image feel enormous.

22/09/2026

Starting our list of Top 20 movies we enjoy | The Brutalist

22/09/2026

Flowers won’t always solve everything! 🎬🎥

22/09/2026

🎬 FILM 16 — PRISONERS

“What happens to morality when the people we love are taken away from us?”

Prisoners is an uncomfortable film because it refuses to give us easy answers. At its centre is an impossible moral question: how far should someone go when the system fails to provide justice?
That question becomes increasingly disturbing as the story progresses. What makes the film powerful is that it doesn't simply ask us to judge its characters.

It asks us to understand them. Fear changes people. Desperation changes people. Grief changes people. And sometimes the desire to protect someone can lead us somewhere we never expected to go.

Denis Villeneuve creates an atmosphere where the environment itself seems to carry the emotional weight of the story. Rain. Darkness. Suburban streets. Cold interiors. The world feels morally grey because the characters inhabit a world where certainty has disappeared. That is what makes Prisoners more than a thriller.

It is an examination of morality under pressure.

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Tuesday	09:00 - 17:00
Wednesday	09:00 - 17:00
Thursday	09:00 - 17:00
Friday	09:00 - 03:00
Saturday	09:00 - 01:00

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