Review: This Is Not A Burial, It’s A Resurrection

This Mosotho drama doesn’t bow to storytelling convention, highlighting the natural flair and talents of writer-director Lemohang Jeremiah Mosese, a self-taught filmmaker whose drive and inspiration powers this inventive, original and layered drama.

Carving his own path, Mosese has created his own filmic language to tell this haunting tale about straddling the past and progress. We accompany Mantoa, an 80-year-old widow, who finds a new sense of purpose and passion that sparks a community to action when their homeland is threatened by a dam development.

This Is Not A Burial, It’s A Resurrection is essentially a deconstruction of a funeral, unpacking themes around inheritance, legacy and religion. The drama also carries rich socio-political undertones gently interlacing timely African narratives around imperialism and land ownership.

Mary Twala in her final performance adds depth, honouring one of several superb casting decisions with a spirited lead performance. While gracing almost every frame in her swan song, she’s supported by the likes of Jerry Mofokeng and Makhaola Ndebele.

Its dark, unsettling mood and use of sound seems to have been influenced by the work of the legendary David Lynch. In this surreal atmosphere, Mosese allows haunting scenes to unfurl like paintings. This Is Not A Burial, It’s A Resurrection has been beautifully photographed, and its thoughtful composition and mesmerising visuals resonate with the horror of Robert Eggers.

The storytelling is infused with poetry and powerful contrasts, allowing its dialogue to complement and compel the otherworldly feel of Mosese’s world. Set against the backdrop of Lesotho’s natural beauty, This Is Not A Burial, It’s A Resurrection immerses itself in the country’s rich culture and heritage.

The drama was ultimately selected as Lesotho’s first Best International Feature Film submission at the 93rd Academy Awards.