Right Now with Kyla Philander
Cape Town-based Kyla Philander is a filmmaker whose work is influenced by their fascination with people and the human condition. Their documentary (Un)credited - The Story of Afro Dance, which explores the impact of Nigeria’s dance scene on pop culture, recently premiered on Netflix and earned the director their second Loerie award, the other for 2022’s Corona Free Surfer. Afrika Bogatsu caught up with them to discuss where their heart and head is at lately, what they’re obsessing over, and the art of dressing with intention.
AB: Who is Kyla Philander, right now, compared to past versions of yourself?
KP: I’m feeling this weird cognitive dissonance of coming into my own ideologies and my own identity but also maintaining this hyper-awareness of the importance of community—an innate connection with others. I’m trying to marry these two themes together in how I express myself and who I am.
AB: How would you describe your state of mind?
KP: I feel hungry, like I want to make work, but it’s always going to be tinged with the sadness of the state of the world. The suffering weighs heavy on my heart and it would be disingenuous to pretend that I’m not heartbroken in this current timeline.
AB: With not one but two bronze Loerie birds sitting in your Woodstock home, how does stepping into your Bronze Era feel like?
KP: I won’t lie about resenting the conflict and violence that comes with the Bronze Age but, I’m extremely proud of myself for being able to wangle my contrarian ass into very structured frameworks and be acknowledged for the filmmaker I am.
AB: Can you share a few highlights from the past year?
KP: A highlight was being a Loeries judge; very eye-opening. I did this bias training course that was so insightful (self-drag), ironed out some personal mess and found God in the mundane.
AB: What would you say has been your most career-defining moment and what was the biggest lesson you took from it?
KP: It feels very seminal to have my work streaming on Netflix. It happened on 28 December and I got news of it right after the writer's strike ended so I didn’t even have to engage with that millennial or Rainbow Nation guilt that hovers over me. That was so huge; I’ve been ecstatic. The lesson in this was to stop pretending to myself that I wouldn’t die for my work. I would.
AB: What do you see yourself doing in five or ten years time?
KP: I will absolutely be in my feature film bag. Long-form storytelling is very close in my future.
AB: How would you describe your style right now?
KP: Such a funny question because I’ve been thinking so much about an intentional look for set and I’m leaning into the blazer/suit jacket look but with a baseball cap, like how Spielberg used to dress. So many men wear suits on set and I think I want to incorporate that into my style. I just wear what I like. Sometimes I create a character in my head, like, “What would this hun wear today?” and that’s it.
AB: What are you listening to or reading at the moment?
KP: I love Tyla, been about Doja Cat and Kelela is the perfect artist. I’m reading a book called Directors on Directing: A Source Book of the Modern Theatre. My dad gave it to me ages ago but it feels relevant right now and I’m enjoying it. I’ve been watching The Thick Of It, which is like the OG Succession but in the British parliament—very excellent.
AB: What do you want dead and gone, and what would you like to bring back?
KP: I’m trying to be less of a hater when it comes to trends. Instead I’m trying to lean into deciphering people's styles and observing trends through that lens. I would like more people to feel safe enough to dress sexily—bring that back.
AB: If you could be anywhere in the world right now, where would you be and why?
KP: As bittersweet as the South African experience is, it’s my trauma. This is my home and sometimes we get it right. Sometimes. I’m happy to be here.
AB: What’s the motto for 2024?
KP: I don’t know if it’s a motto but I'm definitely maintaining my peace, my health and being a safe little landing spot for the people I love.
Words by Afrika Bogatsu for Letterhead