“Umjolo: There Is No Cure” (2025) is the latest installment in the South African romantic comedy-drama franchise that has garnered a mix of criticism and appreciation over its previous four films. Directed by Mthunzi Dubazana and penned by Thuli Zuma, this 78-minute film was released on Netflix on February 14, 2025. It continues the series’ tradition of exploring contemporary love and relationships within the South African context, this time focusing on a same-sex romance.

Plot Overview

The narrative centers on Liyana Ndlovu, an award-winning novelist renowned for her tales of love and romance. Despite her professional success, Liyana’s personal love life remains unwritten. The film delves into her journey as she attempts to craft her own love story, navigating the complexities of modern relationships and personal insecurities. The plot is straightforward, adhering to familiar romantic comedy tropes, which some critics argue contributes to its predictability.

Character Development and Performances

Nombulelo Mhlongo delivers a compelling performance as Liyana Ndlovu, capturing the nuances of a successful yet romantically unfulfilled writer. Her portrayal brings depth to a character striving to reconcile her public persona with private desires. The supporting cast, including Busisiwe Mtshali, Tina Redman, Londeka Sishi, and Yonda Thomas, provide solid performances that complement Mhlongo’s lead role. However, some reviews suggest that the chemistry between characters, particularly the central romantic pairing, lacks the intensity and authenticity that could elevate the narrative.

Direction and Writing

Director Mthunzi Dubazana maintains a lighthearted and colorful tone throughout the film, aligning with the franchise’s established style. Thuli Zuma’s screenplay, while aiming to blend humor with heartfelt moments, has been critiqued for its lack of innovation and depth. As noted by a critic on Rotten Tomatoes, “Thuli Zuma’s writing in Umjolo: There is No Cure is so bland and boring that it’d put an insomniac to sleep.” This sentiment reflects a broader criticism that the film adheres too closely to genre conventions without offering fresh perspectives.

Cinematography and Production Design

The film’s visual aesthetic is vibrant, showcasing South Africa’s rich cultural backdrop. Cinematographer Lwazi Ntshangase employs a palette that enhances the romantic and comedic elements of the story. Production design by Thandiwe Mokoena effectively captures both the urban settings and more intimate spaces, contributing to the film’s overall charm. Despite these strengths, some viewers may find the visual style lacking in distinctiveness, as it closely mirrors the previous entries in the series.

Themes and Cultural Context

“Umjolo: There Is No Cure” explores themes of love, self-discovery, and the societal pressures surrounding relationships. The film’s focus on a same-sex relationship is a progressive step within the context of South African cinema, offering representation that is often limited. However, the execution has been met with mixed reactions. A reviewer from DMTalkies commented, “But given how this is the sequel to four awful movies, it’s actually a relief that the film is so predictable and uninventive.” This highlights a tension between the desire for representation and the need for compelling storytelling.

Audience Reception

Audience reactions have been varied. Some viewers appreciate the film for its lighthearted portrayal of a queer relationship, as evidenced by a Letterboxd user who stated, “Finally a black lesbian rom com, lighthearted, colourful, funny. And that’s all I wanted.” Others, however, critique the film for its pacing and character dynamics. Another Letterboxd review noted, “It felt sooo rushed, there was no slow burn or a build up to the romance and the romance of it all didn’t feel, como se dice, ‘natural’.” These responses indicate a divide between audiences seeking representation and those desiring more nuanced storytelling.

Franchise Evolution

The “Umjolo” series has been a subject of debate since its inception. While it has been criticized for its lack of originality and depth, the franchise persists, suggesting a dedicated audience base. “Umjolo: There Is No Cure” attempts to address previous criticisms by introducing a same-sex romance, yet it struggles to break free from the formulaic constraints that have defined its predecessors. As one critic from DMTalkies observed, “The Umjolo franchise is probably one of the worst things Netflix has ever hosted on its platform.” This harsh critique underscores the challenges the series faces in redefining itself.

Conclusion

“Umjolo: There Is No Cure” offers a familiar yet significant addition to the romantic comedy genre within South African cinema. Its attempt to portray a same-sex relationship is commendable, providing representation that is both necessary and timely. However, the film’s reliance on predictable plotlines and underdeveloped character dynamics may leave some viewers wanting more. While it stands as an improvement over previous installments, there remains ample room for growth in delivering more authentic and engaging narratives in future entries.