From the North Coast to the Sydney Opera House… it sounds like the plot of a feel-good film, but for Ballito filmmaker SJ van Breda, it’s real life. And it’s been a long time coming.
SJ recently scooped multiple international awards for her short documentary Squashbox, a beautifully shot, deeply human portrait of Maskandi duo David “Qadasi” Jenkins and Maqhinga Radebe. The film, created using a smartphone and a drone, took top honours at SmartFone Flick Fest in Australia, proving that powerful storytelling matters far more than expensive gear.
Although SJ dreamed of filmmaking from childhood, she initially chose a very different route. A top student in science and maths, she completed a demanding mechanical engineering degree at UCT, followed by postgraduate work in aerospace research. On paper, it was an impressive trajectory. In reality, she was deeply unhappy.
“I had the job, the car, the apartment – and I hated every second,” she admits. Still in her early twenties, she made the brave decision to change course completely. With savings, family support and a lot of courage, she enrolled at film school in Vancouver, tackling an intense, hands-on programme that confirmed what she’d always known: this was where she belonged.
After returning to South Africa, breaking into the industry wasn’t easy. But instead of waiting for permission or perfect conditions, SJ created her own opportunities. With limited resources but strong creative instincts, she began making short artist documentaries, often filming solo, often on her phone, focusing on painters, sculptors, designers and makers whose work fascinated her.
Working alone taught her to think like a director, cinematographer and editor all at once. It sharpened her storytelling instincts and deepened her sensitivity to her subjects. Her documentaries feel intimate rather than intrusive – collaborative rather than extractive. She builds trust slowly, spends time with her subjects, and shapes each story with care.
Squashbox grew out of that same approach. After years of encouragement from her father to document the story of David and Maqhinga, she finally agreed, cautiously at first. Musicians, she says, can be harder to film than visual artists. But what she discovered was a layered, emotional story about partnership, culture and musical heritage.
Filming took place in and around KwaZulu-Natal, including misty, atmospheric scenes in the Karkloof. The finished film blends landscape, music and personality into something that feels both grounded and cinematic.
The international recognition that followed has been surreal. Walking into the Sydney Opera House for the festival screening – while also filming a behind-the-scenes documentary about the event – felt almost out-of-body. Even now, she says, it hasn’t fully sunk in.
What meant the most? The audience response, including homesick South Africans in the crowd who connected instantly with the film’s sense of place and sound. There are already conversations underway about further festival screenings abroad.
Despite the accolades, SJ remains refreshingly grounded. She runs her own production company from Ballito, focusing mainly on post-production and editing work for clients around the world, including major YouTube creators and authors. Her documentaries remain passion projects – self-driven, unsponsored and creatively free.
That freedom matters to her. Without external funders shaping the narrative, she can follow instinct, curiosity and connection – the things that sit at the heart of her work.
Details: IG: @sjvanbreda
