Bereft Woman

Sat, Mar 19, 2022
Tannie Maria Purvis has just lost her job as recipe-writer for the local paper so turns her talents to the advice column instead. One of the first letters leads her to an abused woman whose life may be in danger.
7.2 /10
Sex Cake

Mon, Mar 28, 2022
Tannie Maria has grave doubts about the police's investigation, but is distracted by a lovelorn farmer who needs a little sweetness in his life. Jessie's drive for investigative journalism lands her and Maria in the middle of a shootout.
7.6 /10
Do You Lick Everything?
Tannie and Jessie have some awkward questions to answer at the police station after another murder. Jessie's mother has a mystery at work that needs solving.
7.8 /10
Operation Vetkoek
The community says goodbye to Lawrence and Martine's cousin arrives to take charge of her funeral. Maria and Jessie attempt to interview a befuddled Dirk and Maria uses mince to solve a teenage identity crisis.
7.8 /10
A Shoe Murder

Tue, Apr 19, 2022
Tannie Maria and Jessie take their shoes off before they sneak into a house. Later She comes home and finds her missing shoes sitting on her front porch cut in half as a warning. She reports her murdered shoes to detective Khaya.
7.9 /10
Breakfast for Dinner
Dirk and Anna drive the police to distraction. The town attends Martine's funeral but then there's a near death at the reception. Khaya and Maria share their suspicions.
8 /10
Enough Sweet Potatoes
Hattie fights off an attempt at censorship by the town council. The sinister messages from Scotland continue to plague Maria, while she tries to resolve a family feud.
7.9 /10
Pomegranate Juice and Vodka
The relentless attention from Scotland is starting to get to Maria, while she tries to help a woman in danger of losing her faith. Jessie's life is put in real danger.
8.1 /10
Scrambled Eggs

Sun, May 15, 2022
A frantic search is on for Jessie. Revelations start to make sense of the mystery of Martine's death, as well as Maria's past.
8.3 /10
I Only Wanted Advice, Tannie
A terrified Maria flees into the bush just as the police arrive. The search for Jessie continues into the night and the entire community rallies. Maria's past catches up to her.
8.7 /10

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Fortynine

Fortynine

Between 1996 and 2006 Michal Kosakowski produced 49 short movies on the subject of killing. 49 killings, dreamed up by inhabitants of the metropolis of morbidity - Vienna. In 1996, Kosakowski began to inquire into fantasies of killing - at first among his relatives and friends, then widening the circle to include artists, musicians and, eventually, actors. Within a decade, Kosakowski made 49 short movies, an essential element of which is the fact that these killing fantasies were put into practice with the complicity of the respondents themselves and depicted in the 49 videos. The collaborations between Kosakowski and his fictitious killers and victims in scripting, acting and staging the films could not have been closer or more intense. Michal Kosakowski himself was in charge of directing, camera, editing and special effects for all 49 films. The fantasies of violence, all of which seem to feed on the explicit violence omnipresent in film and television, are stunning. Not a single one of the 160 performers has a criminal record or was ever involved in any real acts of violence. And yet poisoning, torture, suicide, execution, ritual murder, violence by and against women, men, and children, murders motivated by sexual, political, and mental aberration come face to face with the recipients' emotions, naked and uncensored. The video-installation FORTYNINE is a 5x4x3 meter mirror-walled cube. Visitors who enter the cube are confronted by a 49-part HD split-screen that mirrors their reflections to infinity. The fact of interpersonal acts of violence, here anchored in present-day aesthetics, is also reflected in the emotions visible on the faces of the visitors, which are equally mirrored to infinity. 49 examples of fictitious killing collide head-on with the real emotions of the installation's visitors. The collective experience of any emotion generates intimacy - and it is precisely this intimacy that acts as a further constitutive component of FORTYNINE: the confrontation of the individual with itself, in the face of the most atrocious examples of violence. What Michal Kosakowski grants us is the rare occasion to experience a genuine taboo of our times and our Western society - death. A death that, for the time being, seems to present itself exclusively in the contemporary guise of the incessant violence staged by the media.

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