{"id":22675,"date":"2024-08-14T02:04:43","date_gmt":"2024-08-14T00:04:43","guid":{"rendered":"https:\/\/www.samdb.co.za\/blogs\/?p=22675"},"modified":"2024-08-14T02:04:45","modified_gmt":"2024-08-14T00:04:45","slug":"meet-the-women-behind-wyfie-the-showmax-series-turning-heads-from-cannes-to-seoul","status":"publish","type":"post","link":"https:\/\/www.samdb.co.za\/blogs\/blog\/2024\/08\/14\/meet-the-women-behind-wyfie-the-showmax-series-turning-heads-from-cannes-to-seoul\/","title":{"rendered":"Meet the Women Behind “Wyfie”, the Showmax Series Turning Heads from Cannes to Seoul"},"content":{"rendered":"\n

Emilie Badenhorst and Eva du Preez had never directed a TV series before starting work on Wyfie<\/em>, the Showmax Original about four mismatched university koshuis roommates, played by Be\u00e1ta Bena Green, Celeste Loots, Kristen Raath and Mienke Ehlers.<\/p>\n\n\n

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Eva was better known as an editor, having won at Silwerskerm for Poppie Nongena<\/em>, been nominated for SAFTAs for Troukoors <\/em>and Die Boland Moorde<\/em>, and cut Afrikaans hits like Kanarie<\/em> and Trompoppie<\/em>. Emilie was better known for her ads, music videos and short films, like \u2018n Doop om Stilte, <\/em>which won Best Short Film and Best Direction at Silwerskerm last year.<\/p>\n\n\n\n

But together with SAFTA winner Johan Cronj\u00e9 (Wonderlus<\/em>, N\u00earens, Noord-Kaap<\/em>) and production company Homebrew Films (Trompoppie<\/em>), they\u2019ve created a hit show that has been nominated at The Global Production Awards in Cannes; this month\u2019s kykNET Silwerskerm Awards for Film and TV in Cape Town; and The Seoul International Drama Awards next month.<\/p>\n\n\n\n

Last Thursday, Wyfie <\/em>was nominated again, this time at MIPAfrica\u2019s Inclusive Lens Awards, being held at the Cape Town International Convention centre on 3 September, for its LGBTQIA+ Representation. As the Inclusive Lens Awards citation says, \u201cWyfie<\/em> masterfully portrays the complexities of university life for four young women. Balancing mischief and moral dilemmas, the characters’ journeys highlight resilience and personal growth. Through its engaging narrative, Wyfie<\/em> captures the essence of youthful rebellion and the journey to adulthood.\u201d<\/p>\n\n\n

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Mienke Ehlers in Wyfie<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

We caught up with Emilie and Eva to find out more about the groundbreaking series, which drops new S2 episodes on Showmax every Tuesday:<\/p>\n\n\n\n

What has the impact of Wyfie<\/em> been?<\/strong><\/p>\n\n\n\n

Emilie<\/strong>: There’s a lot of excitement and awareness around the show, its values, and the space it’s creating for young women. Wyfie<\/em> makes them feel seen and heard in a way few other South African series have managed.<\/p>\n\n\n\n

Eva<\/strong>: I like to think that Wyfie<\/em> makes it easier for us to talk about important issues. The show addresses topics like rape, sexuality, religion, and political struggles, creating a space where nothing is off-limits. In university, I didn’t feel represented in the media. Now, with Wyfie<\/em>, there’s a language that’s close to home, making it feel very relevant to South African students and their experiences.<\/p>\n\n\n\n

What should viewers be most excited about in Wyfie Season 2<\/em>?<\/strong><\/p>\n\n\n\n

Emilie<\/strong>: Season 2 features transformations in characters that might surprise viewers. The performances were incredibly challenging and required the actresses to dig deep to deal with many uncomfortable challenges the students face and how they will overcome them.<\/p>\n\n\n\n

What are your thoughts on representing women on screen?<\/strong><\/p>\n\n\n\n

Emilie<\/strong>: Women telling women\u2019s stories is so important. Even though we can be strong and excellent as a creative or as a director, no matter our gender, there is a sensitivity and relatability when women tell women\u2019s stories. So many women\u2019s stories need to be told, but men are often the ones telling them. That’s what I think is so incredible about Johan [Cronj\u00e9]. He has a sensitivity beyond what I find in other male directors that I’ve worked with; it\u2019s beautiful how he expresses what he needs for the project, and for this experience and representation.<\/p>\n\n\n\n

What are some of the challenges you\u2019ve faced as a woman in the industry?<\/strong><\/p>\n\n\n\n

Emilie<\/strong>: I remember my first commercial project feeling daunting, not just because it was a big project but also because I was very aware of being a woman in that space. Over time, I became more sensitive to subtle biases and comments and eventually found like-minded collaborators who respected me for my talent. It’s an ongoing process and struggle, but I can see a difference in the industry. Whether that’s a difference in myself and being able to navigate the space and own up and call out the problems or whether that’s just really how it’s changed, I don’t know. It could be a combination.<\/p>\n\n\n\n

Eva<\/strong>: When I started, I got a lot of jobs because I was a woman, which initially offended me. I decided to prove my worth through my work, and eventually, people asked to work with me for my skills, not my gender. It’s still a challenge, but I’ve noticed changes and more consequences for inappropriate behaviour. The industry is slowly evolving, but there’s still work to be done.<\/p>\n\n\n\n

What are your thoughts on the growth and popularity of Afrikaans content?<\/strong><\/p>\n\n\n\n

Eva<\/strong>: Shows like Wyfie<\/em>, Koek<\/em>, and Trompoppie<\/em> are a little bit \u201coff-brand\u201d for most Afrikaans people. Traditional Afrikaans media has been very conservative, but platforms like Showmax are willing to explore diverse narratives. There are so many layers to being Afrikaans, and I think we’ve started showing the more relaxed side of it. Viewers want to see characters who live and speak like they do, who face real-life issues and navigate them authentically.<\/p>\n\n\n\n

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