Repertory venue
Braamfontein Screening Room
Hosts our 35mm diary entries. They open the booth on Friday afternoons and let us watch a full threading before the doors do.
Film criticism, interviews, and repertory notes
The journal does not run on our bylines alone. Repertory houses, festival offices, post-production rooms and film schools across Gauteng let us sit in, ask questions and file notes. These are the partners whose names we can put on the record.
Repertory venue
Hosts our 35mm diary entries. They open the booth on Friday afternoons and let us watch a full threading before the doors do.
Festival partner
Shares their screening schedules and programme listings with us each season, so our archived short-film records stay accurate.
Post-production
Opens its colour rooms for our interview transcripts with colourists, including the two afternoons behind the Rosebank grading piece.
Film school
Several of our contributors came through their editing and cinematography modules. They also pass on student shorts worth writing about.
Sound studio
Walks us through mix decisions on local features, from dialogue balance to the low-end choices that decide how a room feels.
Volunteer crew
The door staff, ushers and coffee runners who make the Maboneng all-nighters work. Their notes on queues and snack bars are credited in full.
How the journal documents its screenings, credits its contributors and handles corrections. If your question is about pitching or sending a note, the contact page covers that.
Every viewing diary carries a publication date, the venue, the format and the name of the person who filed it. If a note comes from a festival volunteer rather than a staff projectionist, that is stated in the byline. We do not run entries we cannot trace back to someone who was in the room.
Because the two presentations fail in different ways. A 35mm screening can lose a reel, show a splice pop or drift out of frame; a digital file can stutter, drop audio channels or arrive in the wrong aspect ratio. Keeping the format visible in the record lets readers compare notes across venues in Braamfontein, Rosebank and Maboneng.
A small crew of projectionists, festival volunteers and film-school graduates, plus occasional guest contributors. Interview transcripts are edited for length and clarity, and every contributor is credited at the end of the piece. Nobody publishes under a house name.
Corrections are logged with their own dates and kept visible on the original entry rather than quietly rewritten. If a venue, a format or a credit line was misstated, the note stays and the fix sits next to it.
Weekly, with the occasional gap around festival season. The archive holds dated viewing diaries, interview transcripts with directors and colourists, cinematography and editing breakdowns, and short-film programme listings from Gauteng screenings.
Still unsure about something? Read the help notes or write to us on the contact page.
A cinema journal is only worth reading if you can trace a claim back to a room, a date and a person. That is the standard we hold ourselves to at Ennead Cineplex, and it is the reason our notes read the way they do.
A viewing diary from Braamfontein carries the night it was written, not a vague "recently." When we correct something, the correction gets its own date so you can see what changed and when.
Projectionists, festival volunteers and film-school graduates sign their pieces. If a note came out of a Rosebank grading session or a Maboneng midnight marathon, the person who filed it is credited at the end.
We say whether a screening ran on 35mm or digital, because the two behave differently in the booth and in the room. That distinction sits in the text, not buried in a footnote.
Interviews with directors and colourists are edited for length and clarity, and we mark where we cut. You get the working conversation, not a rewritten press release.
Short-film programme listings stay up after the season ends. If you missed a screening, the lineup and the venue are still there to read through.
We do not publish attendance figures, revenue claims or growth charts we cannot show. What we can show is the published record, week after week, and that is what we point to.