Saagar Kote
Directed by Joshua Rous, ‘Semi-Soeter’ is the sequel to the 2012 romantic comedy ‘Semi-Soet.’ The comedy drama film continues the tale of the chaotic corporate couple JP and Jaci Basson, as they find themselves in a stage of their career where they have to decide between family and money. Their lives are hilariously upended when they must fake parenthood of a baby boy for a vital business deal with YBAB, a baby products company. The film explores the idea of marriage and the potential for deeper love and family understanding between the lead characters as they navigate temporary parenthood, leading to a challenging scenario for their money-driven souls. With its heartfelt moments, emotional performances, and grounded storyline, the Afrikaans drama offers the viewers a compelling and entertaining experience.
Semi-Soeter is a Fictional Movie With Certain Aspects Grounded in Reality
Though ‘Semi-Soeter’ is a fictional tale, it is based around issues rooted in real life. The story, penned by writers Sandra Vaughn, Anel Alexander, and Zandré Coetzer, explores the complexities of families, the value of children, and the corporatization of the familial sphere. According to a 2023 report released by the World Health Organization, a shocking 17.5% of the adult population worldwide experiences infertility. The monetary and marketing value placed by YBAB on babies in the film showcases that the business world has reduced infants into commodities of image-making, especially due to the widespread prevalence of childlessness globally.
The lengths that the lead characters go to in order to pretend that they actually have a baby show that parenthood is not an easy idea. The YBAB contract, being relentlessly pursued by JP and Jaci, pushes them into a zone of materialism where they are not able to appreciate the simpler and more meaningful aspects of life and marriage. Beyond just romance, individuals sometimes get into or stay in relationships for a plethora of reasons, like societal pressure and career ambitions. Through the story of the lead pair, the film discusses the idea of what real and fake relationships look like.
The Contrasting Lives of the Greylings and the Bassons
As opposed to JP and Jaci Basson, their friends Hertjie and Karla Greyling are already parents to five children. Despite the pressure of handling many kids, they also seem to live a happy life. For most of the film, the lead characters cannot appreciate the joy of having a family, since they are consumed by the desire to make more money and take their business to greater heights. However, as they try to get the contract, their interactions with the Greylings and their overall experience teach them that family bonding and having children are more important than pretending to be parents just to secure a business deal. This is one of the major things that is meaningfully covered in the narrative that connects the drama to reality.
The movie further explores that in many professional settings, especially for women, there’s often pressure to present a perfectly polished image. People frequently perform fake roles in corporate, political, or even social media spaces to gain acceptance, influence, or opportunities. The film also has a critical and satirical take on the timeline often imposed on women in many societies, especially in Afrikaans-speaking communities where the story is set. This timeline, hinted at by the gynaecologist in one of the scenes, shows how a woman’s life is expected to grow in terms of career, marriage, and then motherhood.
The storyline throws light on how women are constantly measured against these societal expectations. In essence, ‘Semi-Soeter’ is not based on a real story or events, but it captures social reality in a unique manner, especially centering around scenarios that a lot of women and professionals go through in their daily lives. Creatively utilizing humor and romance, the film tackles the everyday dilemmas of common people in a complex world, making for a story that’s authentic, close to worldly concerns, and entertaining.
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