--- title: "Moffie" year: 2020 kind: "film" canonical: "https://film.one/film/moffie" fi1m_id: "moffie" imdb_id: "tt10699362" tmdb_id: 618228 wikidata_id: "Q72697912" fi1m_score: 80 critics_score: 76 critics_reviews: 17 published: "2026-10-03T01:24:39.099579+00:00" updated: "2026-10-03T01:24:57.875843+00:00" region: "FI" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Moffie (2020) Directed by Oliver Hermanus · 1h 44m · Drama, War, Romance ## Identity Moffie - **Canonical:** https://film.one/film/moffie - **Type:** Film - **Fi1m ID:** moffie - **IMDb ID:** tt10699362 - **TMDB ID:** 618228 - **Wikidata ID:** Q72697912 - **Same entity:** https://www.imdb.com/title/tt10699362/, https://www.themoviedb.org/movie/618228, https://www.wikidata.org/wiki/Q72697912 **Fi1m score: 80** · Critics 76 from 17 reviews *In a sentence:* All that military training, and the hardest thing is knowing where to look > Oliver Hermanus makes a forceful, difficult drama about a gay conscript in apartheid South Africa. Kai Luke Brümmer’s restraint gives the cruelty a human scale, though the storytelling becomes less sure as it goes on. ## Synopsis In apartheid-era South Africa, Nicholas Van der Swart (Kai Luke Brümmer) enters military service needing to keep his homosexuality hidden. Training brings bullying, humiliation and homophobic abuse; showing what he feels could make him a target. His days are spent among men including Dylan Stassen (Ryan de Villiers), Michael Sachs (Matthew Vey) and Sergeant Brand (Hilton Pelser). Nicholas wants to get through his service without being exposed, but friendship and attraction complicate the effort to stay unnoticed. The military demands a display of masculinity that leaves him watching himself as closely as the men around him. ## Review *Moffie* is a forceful, troubling drama, and we recommend it with a reservation about its increasingly uneven storytelling. Oliver Hermanus approaches military training through the effort of a gay conscript to avoid being noticed. In apartheid South Africa, Nicholas Van der Swart must conceal feelings that the institution around him treats as grounds for humiliation. The film’s interest is in the daily work of keeping those feelings from showing, and in how much of a young man’s attention that work consumes. Kai Luke Brümmer gives that vigilance a physical presence without turning Nicholas into a succession of signals for us to decode. His reserve makes the bullying harder to watch, because the performance offers so little release from it. We felt worn down by the homophobic abuse; the repetition of slurs makes ordinary proximity to other men seem dangerous. The friendships matter because they offer some relief without removing the need for caution. Jamie Ramsay’s cinematography lets us understand why Nicholas cannot simply stop looking at the men around him. The attention to male bodies makes attraction palpable even when the military setting makes it frightening. That is a difficult judgement to get right: photographing these men with care could soften our sense of their capacity for cruelty. Here, the beauty makes Nicholas’s predicament more painful, because we can understand the longing as well as the fear. Franz Lewis’s production design helps make shared military space feel unsafe, even before anyone speaks. The surroundings offer little sense of somewhere Nicholas could stop monitoring himself, which serves the film’s tightly restricted view of his experience. Braam du Toit’s score presses that anxiety further, and its intensity is often effective. It can also feel too insistent, telling us to brace ourselves when the faces and the proximity of the men have already done the work. George Hanmer and Alain Dessauvage make Nicholas’s memories feel close enough to disturb the military present. The editing gives his fear a history without requiring the central performance to become more demonstrative. The broader pacing is less convincing, with later stretches feeling both hurried and prone to drift. Across 104 minutes, some developments need more room, while other passages repeat an anxiety the film has already made clear. The screenplay by Oliver Hermanus and Jack Sidey remains strongest when it stays close to the practical business of concealment. Its close focus on Nicholas’s suffering also leaves the wider racial hierarchy of apartheid less fully examined. That choice is understandable, and it gives the lead performance room to register. Still, we wanted a fuller sense of how this military culture serves the society outside it. Anyone expecting military action to provide the main drama should adjust those expectations. The film has already made the business of surviving other men’s company frightening enough. Its tenderness comes as a relief, and the central performance keeps that relief from feeling cheaply offered. We recommend it, with patience for the uneven stretches and fair warning about the sustained verbal cruelty. *Fi1m score 80, published 3 October 2026.* ## What the critics say Most critics respond warmly to Moffie’s portrayal of gay repression within apartheid-era military service, finding tenderness and desire amid the bullying and indoctrination. Praise centres on the intimate cinematography, which makes both attraction and claustrophobia palpable, and on Kai Luke Brummer’s restrained, physically expressive performance. The reviews repeatedly describe a punishing but rewarding drama, attentive to the psychological damage of homophobia without losing sight of the conscripts’ longing for closeness. The spread runs from strong enthusiasm to mixed approval, with no outright negative verdicts. Reservations concern uneven storytelling and, in some reviews, the treatment of race or heavy-handed direction. The Hollywood Reporter finds the later sections both meandering and rushed. A revealing disagreement concerns the flashback: Deadline considers its placement disruptive, while The AV Club singles it out as harrowing. Even the more reserved responses find value in the depiction of military hatred and clandestine intimacy. ## Straight answers **Is Moffie worth watching?** *Moffie* is worth watching for its restrained central performance and troubling account of a gay conscript’s military service; we score it 80 out of 100. We recommend it to viewers drawn to intimate, demanding drama rather than military action, with reservations about uneven later storytelling and a warning about sustained homophobic abuse. **How long is Moffie, and what is it rated?** *Moffie* runs 1h 44m. It is a drama and war film. **Where can I watch Moffie in Finland?** *Moffie* is not on any streaming or rental service in Finland at the moment. It is available in 10 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is Moffie, and is it suitable for children?** *Moffie* has a UK 18 certificate and is not suitable for children, with bullying, humiliation and sustained homophobic abuse making it a difficult watch. We find its fear comes from Nicholas’s need to conceal his sexuality among men who could turn on him; the repeated verbal cruelty is wearing rather than merely incidental. **How does Moffie compare to Beau Travail?** *Moffie* offers a more emotionally immediate account of concealed desire in military life than [*Beau Travail*](https://film.one/film/beau-travail), whose slow, spare storytelling can hold us further away. We favour *Moffie* for the closeness of its central performance, despite uneven pacing; *Beau Travail* better suits viewers drawn to drama conveyed through drills, movement and things left unsaid. **Is Moffie based on a true story or a book?** *Moffie* is adapted from a novel by André Carl van der Merwe. We cannot establish how closely it follows the book or how much draws on true events, but the film gives newcomers a clear central predicament: a gay conscript must hide his feelings within an abusive military culture. **What should I watch after Moffie?** After *Moffie*, try [*Beau Travail*](https://film.one/film/beau-travail) (1999, Fi1m 86): Another military life shaped by unspoken desire, told through movement and routine. Then [*Weekend*](https://film.one/film/weekend) (2011, Fi1m 86): A quieter account of the courage involved in letting another person close. ### Reviews we read (17) - **IndieWire**, Ryan Lattanzio (A-): Lattanzio calls the film a powerful portrayal of gay repression and apartheid. He praises its sensual cinematography and editing, which make the protagonist’s claustrophobia and memories vivid. [Read](https://www.indiewire.com/criticism/movies/moffie-review-oliver-hermanus-gay-military-drama-1234628993/) - **Sight and Sound**, Jamie Dunn (85/100, inferred): Dunn finds the film an unsettling, thrillingly cinematic portrait of repression and self-loathing. He particularly praises its feverish atmosphere, shaped by intimate cinematography and an intense score. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/moffie-review-fear-desire-front-lines-apartheid-era-south-africa) - **Variety**, Guy Lodge (Critics Pick): Lodge calls the film a formally assured, piercing masterpiece. He particularly praises its tactile, sensually attentive cinematography and its sensitive portrayal of desire under brutal homophobia. [Read](https://variety.com/2019/film/reviews/moffie-review-1203323700/) - **Los Angeles Times**, Robert Abele (80/100, inferred): A compelling, emotionally intelligent drama that examines the violence of military indoctrination and the criminalization of gay identity. The critic praises Kai Luke Brummer’s magnetic reserve and the film’s evocative cinematography. [Read](https://www.latimes.com/entertainment-arts/movies/story/2021-04-08/review-moffie-drama-gay-apartheid-south-african-army) - **The i Paper**, Joseph Walsh (★★★★): Walsh finds the film a tough but rewarding drama that exposes the fear and hatred of apartheid-era conscription. He singles out its potent depiction of psychological anguish and the poisonous force of homophobic slurs. [Read](https://inews.co.uk/culture/moffie-film-review-homophobia-toxic-masculinity-apartheid-south-africa-421362) - **Time Out**, Dave Calhoun (4/5): The critic finds the bootcamp drama bruising yet tender in its treatment of coming out. They single out its subtle beauty in expressing the pain and uncertainty of that experience. [Read](https://www.timeout.com/movies/moffie) - **The AV Club**, Lawrence Garcia (B): Garcia finds Moffie harrowing and rewarding, though its heavy-handed direction sometimes undermines its irresolute ending. He praises the film’s focused portrayal of Nicholas’s experience and singles out the swimming-pool flashback as genuinely harrowing. [Read](https://www.avclub.com/the-brutal-rewarding-moffie-fires-a-full-metal-jacket-1846625151) - **The Guardian**, Peter Bradshaw (75/100, inferred): Bradshaw finds the drama grimly compelling, tender and charged with eroticism, while noting complications in its treatment of race. He singles out the film’s transformation of threatening male physicality into moments of beauty and tenderness. [Read](https://www.theguardian.com/film/2020/apr/23/moffie-review-oliver-hermanus-south-africa-apartheid-drama) - **The Hollywood Reporter**, David Rooney (75/100, inferred): Rooney finds the film a powerful, often beautiful drama, though its later sections meander and feel rushed. He particularly praises Kai Luke Brummer’s intensely restrained performance and the film’s evocative cinematography. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/moffie-venice-2019-1236982/) - **Screen Daily**, Jonathan Romney (64/100, inferred): The available page does not reveal the critic’s verdict or specific praise or complaint. It describes a young South African man struggling to conceal his homosexuality during military service. [Read](https://www.screendaily.com/reviews/moffie-venice-review/5142224.article) - **Little White Lies**, Hannah Strong (3/3/4): Strong describes the film as bleak, punishing and necessary, while finding tenderness and hope amid its brutality. She praises its atmospheric portrayal of clandestine longing and the beauty of the South African landscape, set against the hatred of apartheid. [Read](https://lwlies.com/reviews/moffie) - **Radio Times**, David Parkinson (3/5): The review presents the drama as an examination of the prejudices of apartheid South Africa. It highlights the friendships that help Nicholas endure the bullying and humiliation of military service. [Read](https://www.radiotimes.com/movie-guide/b-1ioumo/moffie/) - **Paste**, Aparita Bhandari (9.4/10): Bhandari calls the film masterful and sharply relevant, while acknowledging its brutal subject matter and cautiously hopeful ending. She praises its tight script, cinematography, and cast for bringing the conscripts’ inner struggles and South African history to life. [Read](https://www.pastemagazine.com/movies/lgbtq/moffie-review) - **Eye for Film**, Jennie Kermode (85/100, inferred): Kermode finds the film powerful and among Oliver Hermanus’s finest works. She particularly praises Kai Luke Brummer’s restrained, physically expressive performance as Nick. [Read](https://www.eyeforfilm.co.uk/review/moffie-2019-film-review-by-jennie-kermode) - **Deadline**, Todd McCarthy (75/100, inferred): McCarthy considers the film very fine and distinctive, praising Hermanus’s nuanced handling of its prejudices and historical perspective. He finds the flashback disruptive at a pivotal point and the ending somewhat soft. [Read](https://deadline.com/2021/03/moffie-fil-review-international-critics-line-1234723547/) - **HeyUGuys** (75/100, inferred): The critic finds the film thoughtful and convincing in its portrayal of queer experience within a brutal, hyper-masculine military setting. They praise its claustrophobic cinematography and its ability to find intimacy and humanity amid dehumanisation. [Read](https://www.heyuguys.com/moffie-review/) - **The Skinny**, Thomas Atkinson (★★★): Atkinson finds the film’s early approach imprecise, but says its direction becomes tighter and more controlled. He praises its portrayal of the military’s hypermasculine culture as a source of hatred. [Read](https://www.theskinny.co.uk/film/new-releases/moffie) ## Details - **Director:** Oliver Hermanus - **Director:** Oliver Hermanus - **Screenplay:** Oliver Hermanus, Jack Sidey - **Novel:** André Carl van der Merwe - **Cinematography:** Jamie Ramsay - **Editor:** George Hanmer, Alain Dessauvage - **Music:** Braam du Toit - **Production design:** Franz Lewis - **Producer:** Jack Sidey, Eric Abraham - **Cast:** Kai Luke Brümmer as Nicholas Van der Swart; Ryan de Villiers as Dylan Stassen; Matthew Vey as Michael Sachs; Hilton Pelser as Sergeant Brand; Wynand Ferreira as Snyman; Jan Combrink as Jan Gould; Stefan Vermaak as Oscar Fourie; Hendrik Nieuwoudt as Roos - **Runtime:** 1h 44m - **First release (Italy):** 4 September 2019 - **Genres:** Drama, War, Romance - **Trailer:** https://www.youtube.com/watch?v=D9sVz2FSnr0 ## Where to watch in Finland Not streaming, renting or buying in Finland at the last check. Also available in: AT, BE, CA, CH, DE, FR, GB, IE, NL, US. Add `?region=XX` to this URL for another country. ## If you liked this - *Beau Travail* (1999), Fi1m 86: Another military life shaped by unspoken desire, told through movement and routine. — [Fi1m page](https://film.one/film/beau-travail.md) - *The Wound* (2017): Secrecy and masculine ritual put another South African gay man under pressure. - *Merry Christmas, Mr. Lawrence* (1983): Captivity, attraction and military authority make every exchange between men potentially dangerous. - *A Special Day* (1977): Two isolated neighbours find intimacy while fascist ceremony occupies the streets outside. - *Weekend* (2011), Fi1m 86: A quieter account of the courage involved in letting another person close. — [Fi1m page](https://film.one/film/weekend.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/moffie