This is a tale of mythic proportions, which effortlessly tackles issues of racism and questions the whole notion of racial classification. It touches on the science of genetics and the essence of tribalism.

The film has an epic quality, thanks to the boundless and ancient landscape of South Africa. The early part of Sandra’s life takes on the muted, restrained colours of the white community. The latter part benefits from the rich contrasts of life in the black community and reflects Sandra’s journey into colour.

Similarly, the score (by British composer Hélène Muddiman) acts as a counterpoint to the story and weaves a tapestry of Western and African sounds. African instruments such as the kora, thumb piano and antelope horn play alongside traditional western instruments to create a unique orchestration. The sound-world of the film is also rich with local detail, from the bird and animal life to the sounds of the townships.

Historical and political events, and the absurdities of apartheid, are all touched on by the film, as Sandra’s story is emblematic of the country’s struggle for freedom and transformation. But SKIN’s focus is on the personal rather than the political: this is the story of a woman’s search for identity, belonging, and family — all lost and regained.

 

 

• IMDB
• Woman’s Hour (BBC Radio 4)

Although the story spans 30 years, the film compresses time. The script’s flashback structure releases the narrative from the usual strictures of traditional biographical films: we begin with the adult Sandra at the end of apartheid. She is happy for the country, but the ache of losing her parents has never gone away. The events from the past come flooding back, until we return to this moment and overtake it to reach the moving climax — Sandra’s reconciliation with her mother.