Raw authenticity

"I chose to make a low budget film with non-professional actors," explains Rayda Jacobs, "and thereby achieve a raw authenticity."

She's done just that. Shot in 18 days on a frayed-shoestring budget, 'Confessions of a Gambler' has flubbed dialogue, the look of a local TV series and a few too many recycled shots of slot machines. But it's also got something money can't buy — a hard-hitting realism that gives this little South African film a greater impact than the multi-million-dollar explosions of 'Transformers'.

Much of that is due to Jacobs. As screenwriter she's captured the essence of her award-winning 2004 novel, avoiding the usual watering down that comes with book-to-film migrations. As director she's employed the bare basics style learned as a documentary filmmaker, binning any gratuitous flash that could detract from telling the story. As on-screen lead, her portrayal is more about being the character than playing a role.

And what a role that is. Abeeda Ariefdien leads a full life, running a small business from home, playing cards with friends, visiting her adult sons, attending mosque religiously. But a chance visit to the local casino and unexpected R5000 jackpot win are less innocuous than they seem. Compounded by the discovery that her son is dying of Aids, the single mother develops an all-consuming dependency on gambling that leads to the inevitable full house of lies, deception, betrayal and crime.

A familiar fall from grace story, maybe, but when told from the viewpoint of a middle-aged Muslim woman it takes on an unexpected freshness. As Abeeda struggles with her addiction and her faith, Jacobs shows us a part of local society that has, quite literally, been veiled. Through the gambler's eyes you discover a vibrant, strong-willed and fun-loving group of women who struggle with the same problems of every South African.

Jacobs once told an interviewer that the ultimate goal of her work is "to enlighten, to tell you about one another". Like the great South African films before it — 'Tsotsi', 'Yesterday' — 'Confessions Of A Gambler' does just that.