Mbali Mashaba is a force within South African cinema, and at the centre of her work is black women — always

Whether through the glow of her lighting choices or the layered narratives of hair salon politics, choice, and respectability, Mashaba’s storytelling insists on depth, dignity, and resonance.

Armed with an Honours degree in Film and Television Studies and sharpened by a residency at Gothenburg University, Mashaba has carved out a space where research, direction, and curation meet. Her passion for visual storytelling led to the founding of Behind Her Lens Visuals and the Reel to Reality Film Festival, platforms that have showcased over 150 films to audiences across three provinces.

Her curatorial eye has been recognised internationally, from Scotland’s Africa in Motion Emerging Curator Cohort to guest curating for the UK’s Independent Cinema Office, and most recently, being selected as one of eight film festival directors for Durban International Film Festival’s residency in 2025. Mashaba’s trajectory is proof of a creative committed to amplifying African cinema while building bridges across continents.

With her latest short film I Think I Should Say Something (2025), Mashaba turns her lens inward again, exploring the layered realities of black womanhood with the same sharp focus that defines her curatorial practice. SA Creatives sat with Mbali Mashaba to discuss the interconnectedness of film curation and creation, centering black woman stories and the concept behind the short film ahead  of its premiere at AFRICA RISING INTERNATIONAL FILM FESTIVAL on the 29th of November.

SA Creatives:  To start, how do you feel about the movie premiere?

Mbali Mashaba: I’m nervous because we’re in the last few days of post-production. We worked backwards; we got the premiere first, then raced toward the deadline. It’s nerve‑wracking because I’ve sat with the film for some time, and your feelings change. Sometimes you can’t see it the way you did in the beginning. I’m excited to see how people connect with the story. It’s relatable and fun, so I’m eager to see the audience’s response.

SA Creatives: I’m excited too. It’s interesting that you speak about post‑production while already having the premiere. What was the process behind conceptualising it? Writing, directing, casting,  I’d love to get into the details.

Mashaba: The writing process was difficult because I usually don’t write my films — I’m a director. I couldn’t find a writer I trusted, and I didn’t want to miss the funding window from the Gauteng Film Commission. So I decided to try writing myself. Around this time last year, I started collaborating with producer Dennis Nkango. He became a story consultant and producer. I also worked with comedian Celine Chika as a story consultant. Writing comedy was challenging; you don’t know if it’s funny until it lands. But with the right people in the room, I finished the script by January and shot in March. It was tough, but I’m happy with the direction we took.

SA Creatives: Many say comedy is harder than drama, and I agree.

Mashaba: Directing comedy is harder than drama.

SA Creatives: Yes. People say if you want to test an actor’s skill, let them do comedy.

Mashaba: Exactly. It’s difficult, but when you get it right, it’s amazing.

SA Creatives: I want to ask about the theme of hair and speaking up for yourself. Why did you choose this narrative? Hair salons are deeply tied to Black women’s culture, especially for young South African women and across the diaspora. Why did this resonate with you?

Mashaba: I wanted a simple, everyday story for a mass Black audience. My subjects always focus on Black women, so it was natural to think about beauty and hair. One day at the salon, my hairdressers were shouting at each other playfully, and I realised how interesting that space is. As Black women, we know salons can be unpredictable. You don’t know if your hairdresser will be there or if she can deliver what you want. Often, you don’t feel comfortable speaking up because of respectability politics; older women are never questioned. That made it hard for me to stand up for myself, even beyond salons.

I wanted to explore that dynamic. Comedy felt right because so much has been produced about Black hair, but rarely in a comedic way. It’s tense and difficult to tell your hairdresser you’re unhappy, yet it’s relatable. People post “what I ordered vs. what I got,” but they stayed quiet in the chair. That contradiction is funny and real. Comedy makes it palatable while still resonating with our lived experience.

SA Creatives: The film looks bright, with soft lighting that gives it a lively texture. The people are colourful, which we often see in South African films. In post‑production, why did you choose that look, especially for the cinematography?

Mashaba: I developed the cinematography and visual language before finishing the script. I wanted something colourful and dynamic, unlike my previous solemn drama. Lighting and cinematography were the hardest parts. I wanted Black women to be lit beautifully. Hair was a major budget item, so I needed to capture it well. The salon I go to is vibrant, with hairdressers from different parts of Africa bringing their identities together. I wanted to honour that vibrance visually. We only had two days to shoot, but I knew it had to be colourful, that’s what my salon is like, that’s what Blackness is like.

SA Creatives:  Why is it important for you to centre Blackness in everything you do, both as a curator and filmmaker?

Mashaba: The most impactful stories are personal and culturally specific, yet resonate universally. Korean films are loved worldwide because of their cultural specificity. Indian films too. For me, as a Black woman, it’s instinctual to create from my world and history. My audience is African and diasporic people, and I always prioritise the Black woman’s experience.

Early in my career, people told me it was limiting, but filmmakers from other cultures focus on their own without being told to make stories for everyone. I decided to be unapologetically intentional. There’s still a shortage of nuanced Black stories across genres, and I want to fill that gap. These are the stories I know, and I think about how they’ll resonate with my audience from the start.

Curation and filmmaking feed into each other. I discovered curation during a film residency in Sweden and learned that curation is about audience design — making films accessible and creating conversations. In South Africa, film culture isn’t as developed, so cultivating an audience is crucial. Through curation, I learned how to package films, speak to audiences, and drive conversations effectively. Both skills are key to my career, so I keep upskilling in both.

SA Creatives: What’s next for you beyond this film and screening other amazing films? 

Mashaba: We’ll be hosting screenings of the short film with immersive experiences. I’m also developing a feature and two other shorts. Each project is different, helping me refine my style. Travel will be a big part of the next step. I’m pursuing curating opportunities abroad, working with festivals in the US next year, and I’ll be pitching to co‑producers and sponsors internationally.