Guy Lodge Film Critic“It’s not that Mama doesn’t like this house — this house doesn’t like Mama,” explains Tsidi to her young daughter Winnie about the roomy, comfortable Cape Town pad in which they’ve recently taken up residence.
Tsidi knows the place well. For as long as she can remember, it’s been home to her mother Mavis, which is not to say it’s Mavis’s house: A live-in domestic servant, she has been dutifully maintaining the place for decades for her well-to-do white madam, living and aging and even raising children — her own and otherwise — within walls that at once contain her and eternally reject her.
The socially ingrained politics of South Africa’s master-servant culture are ultimately what haunt the house in Jenna Cato Bass’.
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