Online Reporter
Mbulelo Mpofu, Zimpapers Arts and Entertainment Hub
ON March 31, 2025, thespian Luthuli Dlamini made a significant return to the Zimbabwean film scene, inviting me to a shoot for his new film, “Drunk Bible Teacher.” This marked Dlamini’s first appearance in a local production after two decades spent working in the UK and South Africa, signalling a revival not only for himself but potentially for the broader Zimbabwean cinematic landscape.
The filming took place in a local bar designed to resemble Soluswe, setting the stage for a narrative steeped in historical and cultural significance. Dlamini arrived punctually, exemplifying the discipline he instills in aspiring actors during his masterclasses at Cilla’s Conference Centre in Bulawayo. He prepared diligently, cigarette in hand, studying his lines while warmly engaging with fans who recognized him as “Stan Nyathi.”
His approachability and genuine interaction with admirers underscore his commitment to maintaining a connection with the community.
“Drunk Bible Teacher” presents an intriguing narrative that juxtaposes the sacred with the profane, as it follows the story of American missionary William Anderson, portrayed by Marc Anthony Greenland. Anderson’s mission in colonial Rhodesia is faltering, and he encounters John Ntaba Luthuli, played by Dlamini, a once-prominent educator now reduced to alcoholism.
This meeting is pivotal, as Vimbo Shoko, executive producer at Rawsoot Studios, noted, “Beneath the surface lies a brilliant mind that could be the key to Anderson’s survival.” This encapsulates the film’s central theme: the potential for redemption through unlikely partnerships.
The film, set against the backdrop of 1896 colonial Rhodesia, explores the complexities of cultural collisions and the intersection of Biblical wisdom with African philosophy. This is not merely a historical account but a reflection on the shared struggles of two broken men seeking redemption in each other. Dlamini’s return to the screen in such a role is emblematic of a broader narrative about loss, resilience, and the quest for meaning in challenging times.
In addition to Dlamini and Greenland, the cast includes Emory Nare as John Mainza, a character who acts as a bridge between the missionaries and the local community. This ensemble reflects the film’s intent to highlight the diverse cultural dynamics at play during a tumultuous historical period. The authenticity is further enhanced by the period-specific costumes and dialogue, drawing viewers into the era’s complexities.
The film, available on YouTube, has also received attention for its technical aspects, with Trust Sayi handling cinematography. This accessibility ensures that a wider audience can engage with the film’s themes and contribute to discussions about its cultural relevance.
Dlamini’s experience in Bulawayo extends beyond acting; he expressed enthusiasm about engaging with local talent.
“Being in Zimbabwe, koBulawayo specifically was worthwhile for me. I saw a lot of young talent that needs to be nurtured,” he remarked.
Dlamini’s return not only revitalises his own career but also serves as an inspiration for emerging artists, highlighting the importance of mentorship and collaboration in the arts. – Follow on X @MbuleloMpofu
