The narration doesn’t provide the plot though, just the punctuation. This internal narrative, couched in the language of cooking instructions, provides a window into Clara’s emotions as she struggles to find her equilibrium.

Van der Merwe provides a narration as Clara writes a manuscript addressed to ex-husband Bernard Marx (Lotz’s moustache supports the faintly ridiculous air about the lecherous character he creates), who is more often referred to as Bliksem (the film is in Afrikaans with distracting English subtitling that hovers on the picture rather than out of the frame). Sets are the kind that would feature in glossy interior design magazines and Clara’s imagined sequences of revenge on her two-timing ex are funny. The camera lingers lovingly on glorious food being prepared, with many close-ups of Van der Merwe’s mouth as she joyfully consumes her way through her favourite things, rediscovering her joy in food. Determined to make a new life for her little family, she tries to dip her toes into the pool of dating and creating a new life, but her bestie, Minette (Zietsman), is just as determined to shove her in, clothes and all.

Lots of light and precisely-framed shots.The film starts with Clara Brand (Van der Merwe) preparing jars and jars of konfyt, sobbing into her red wine, ignoring her best friend’s admonishments to open the damn gate already.Ĭlara is a food writer whose husband has just left her for her best friend and she decides to decamp for Cape Town with her two kids in tow. What is glam about the film, though, is the artistic presentation – beautiful people, beautiful food and beautiful interior design.

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