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Two South African boys, one white, Rhino, and one black, Zulu, go their separate ways after an incident. Many years later, they meet up again as adults, when one, after living for years in the United States, is now a wanted criminal. The two end up being a part of a madcap chase involving a check for a large amount of lottery money, pursued by Gen. Diehard and Rhino's ex-wife Rowena, who was the cause of the rift between the two protagonists.
The story is about Poenie (Franscois Coertze) who burns his scrotum with a welding iron while working on his car and lands in hospital a few days before he is to marry the virgin Martie. This is the first mishap in a series of disasters and misunderstandings that provides many belly-clutching laughs. As Poenie's father Frikadel (Zak du Plessis) puts it, "Die seun sit sy voet uit die voordeur uit en dan is hy kniediep in die kak!"
Pioneering artist William Kentridge chronicles his creative process during COVID. Interconnected episodes explore culture, history, politics, and profound truths through art-making, inviting viewers into his studio.
The Bed opens with Jamie, a young man, looking round an old, deserted country house. Through flashback we see Jamie as a boy, scared out of his wits when his older sister and her boyfriend, left alone in the house to babysit Jamie for the evening, play cruel tricks on him. His sister makes believe she’s been sucked under Jamie's bed by a monster and her boyfriend pretends he’s been stabbed. Jamie has his revenge at the end when the couple, laughing at scaring Jamie half to death and frolicking on The Bed, are suffocated by its sheets and consumed by it. We come back to present day; Jamie looks at the empty room where the bed once stood then is called by someone outside: an ambulance driver beckons him down in a friendly voice. We assume it’s Jamie's day out from the mental asylum. The final shot is of the lighter part of flooring where the bed once stood disappearing once Jamie has left the room.
