GALE MAIMANE

How would you describe yourself to anyone who has never seen or heard of you?

My journey began with a background in design, veering into film during my schooling years. However, it wasn’t until my third and fourth year, spurred by the encouragement of a particularly kind lecturer, that I realised my potential for writing. This revelation led me to showcase my documentary project at Design Indaba, a pivotal moment that marked my emergence as a creative in 2016. From there, I delved into the world of filmmaking, initially attempting solo projects before recognizing the collaborative nature of the craft. Embracing this, I found my place at Darling Films, where I’ve honed my skills under the mentorship of industry veterans like Jono Hall,  Zee Ntuli, and Chloe Coetsee.

My journey has traversed various realms, from assisting directors in commercials to venturing into music videos and fashion films. Early on, I delved into creating content that addressed poignant yet often overlooked topics like gender-based violence. My transition into commercials, facilitated by my current representation at Darling Films, helmed by Lorraine Smit and Melina McDonald, has been rewarding, fostering a collaborative and supportive environment. Looking ahead, I’m poised to venture into long-form storytelling, driven by a desire to amplify voices and nurture emerging talents in the industry. 

I firmly believe in the power of mentorship and I am committed to guiding the next generation of filmmakers, particularly those from marginalised communities, in finding their voices and shaping the future of South African cinema. That’s why GIRLS IN FILM is so important to me because I get to be a part of an organisation that wants to help POC , femme and queer people make it in the film industry.

Your journey as a filmmaker has been quite dynamic, spanning various genres and storytelling styles. Could you share a pivotal moment or project that significantly shaped your approach to filmmaking and why it was so impactful for you?

It was when I created my first Fashion Film for NAOSERATI, starring the radiant Zoe Modiga, and filmed by the talented cinematographer Adam Bentel. This project marked a significant shift because it was the first time I was fully in charge as the director. It was my baby, my first independent piece of work. The set was incredibly special, held at the home of another director, Tina, who has since become a friend. It was a serene, collaborative, and magical experience that affirmed my belief in filmmaking as a team effort. This moment was a major turning point for me, a realisation of knowing my people, understanding the vision, and feeling the vibes.

“I firmly believe in the power of mentorship and I am committed to guiding the next generation of filmmakers.”

In several interviews, you’ve spoken about the importance of authenticity and diversity in storytelling. How do you navigate the balance between staying true to your own voice as a director while also ensuring the stories you tell are inclusive and representative of diverse experiences?

I’m lucky enough to have the gift of being a polyglot, actively engaging in various creative roles such as artist, photographer, and filmmaker. While I used to dedicate time to drawing and painting, my current focus allows me to express myself through writing and producing a few personal projects. In commercial endeavours, my authenticity often leads to my involvement. Being a representative of the diverse and marginalised demographic presents both empowerment and challenges. Navigating personal scrutiny within the global business landscape can be complex. However, I am fortunate to collaborate with a team that shares similar experiences and perspectives, allowing for authentic communication and storytelling.

“For effective collaboration, it’s crucial to recognize that the story is the priority. While I may hold a directorial role, the story reigns supreme.”

Collaboration is often a central aspect of filmmaking. Can you describe a particularly memorable collaboration experience that not only enhanced the final product but also left a lasting impression on you as a filmmaker or individual?

Collaboration was paramount during that challenging period. Despite the reluctance to accept it,  the start of my career has been shaped by navigating strained contact and physical distance, particularly between 2020 and 2022 in the early pandemic years. For effective collaboration, it’s crucial to recognize that the story is the priority. While I may hold a directorial role, the story reigns supreme. Emotion, ego, and personal matters are set aside to ensure the concept rings true. Learning to collaborate remotely during the pandemic years was a significant adjustment. Effective communication became essential; every word mattered. Empowering team members and valuing their ideas fosters an environment where creativity thrives. Collaborative camaraderie is what I strive to cultivate with those I work with, recognizing that while I can select my collaborators, I can’t control their motivation but we can collaborate.

Your passion for storytelling shines through in your work. Can you pinpoint a specific moment or aspect of filmmaking that continually reignites your love for the craft, even during the inevitable challenges and setbacks that come with the industry?

A few years back, I stumbled upon a copy of Gus Van Sant’s memoir. Occasionally, I revisit it, drawn to the author’s note on the first page. He acknowledges the book’s impermanence, recognizing that by the time readers engage with it, his creative journey will have evolved. It’s a conversation, not a snapshot of his career. A friend likened my journey to his, both of us originating from non-traditional creative backgrounds and transitioning into filmmaking. Unlike him, though, as a young black girl from Pretoria with a single mom, I never considered directing films until someone presented the opportunity. It was beyond my imagined realms of possibility for a little black girl from Mafikeng. Each day feels like a dream realised, standing on sets I once conjured in childhood musings. My optimism stems from a deep gratitude for the privilege of storytelling, a lifeline through life’s trials. Creating, for me, is akin to magic—an essential part of my being, not unlike breathing, but a choice I gladly make every day.

What is a quotable you live by?

What keeps me centred is the realisation that no matter the challenges, “The sun will set and the moon will rise,.” and the next day, the sun will rise again. Life persists, even amidst seemingly insurmountable problems. This understanding may not always be seen as overly positive, but there’s a pragmatic beauty in recognizing that I have only today to do what needs to be done—a realisation bestowed upon me by some greater cosmic knowledge and hella anxiety in other times in my life. It’s this fleeting nature of life that keeps me grounded, a lesson I learned early when my father passed away when I was just 17. 

His death left me with only one profound regret, realising we could never mend our relationship. It wasn’t anyone’s fault; it was just life. From that moment, I resolved to live without regrets, to seize every moment and embrace even the moments of sadness or inaction as essential parts of the human experience. Life, I’ve come to understand, is a fleeting gift, and every moment is precious.

“Creating, for me, is akin to magic—an essential part of my being, not unlike breathing, but a choice I gladly make every day.”