By
Noah R. Rivas
– 6 hours ago
The sugar industry, with its vast fields and apparent sweetness, often hides a bitter undercurrent of exploitation and conflict. This duality serves as a perfect metaphor for ‘Blood Legacy’, the new South African Netflix series that delves into the inner workings of a powerful and dysfunctional family. The production, directed by Nozipho Nkelemba alongside a team of filmmakers that includes Marvin-Lee Beukes, Nthabiseng Mokoena and Bonnie Sithebe, is presented as a high-voltage family drama that does not skimp on betrayals, excessive ambitions and dark secrets.
The plot revolves around the Ndlovu family, owners of Spear Industries, a multi-billion dollar sugar corporation. The plot is triggered by the discovery of the lifeless body of the company’s patriarch and CEO in the sugarcane fields of KwaZulu-Natal. This event precipitates a bitter struggle for control of the company between his sons: Khanyi Adesina, played by Xolile Tshabalala, Mandla Ndlovu, played by Buyile Mdladla, and Siya Ndlovu, played by Mike Ndlangamandla.
The series strives to build a complex universe where family loyalties are constantly tested against personal and corporate ambitions. Khanyi, who returns after years of absence to take over the company at the request of her late father, faces hostility from her brothers, who consider themselves more deserving of leadership for having remained in the family business.
The script, the result of the joint work of Caroline Doherty, Bradley Katzen, Kurt Ellis, Sandulela Asanda and Bonnie Sithebe, attempts to weave an intricate web of relationships and motivations. However, it sometimes falls into clichés typical of the genre, with plot twists that, although effective, are predictable for the viewer experienced in corporate dramas.
The cast’s acting is one of the strong points of ‘Blood Legacy’. Xolile Tshabalala manages to endow Khanyi with remarkable complexity, showing her evolution from an apparent initial vulnerability to a position of power. Her performance reflects the character’s internal contradictions, caught between the desire to honour her father’s will and the temptation of absolute power.
Buyile Mdladla, meanwhile, gives a solid performance as Mandla, the eldest brother whose ethics are blurred in pursuit of his ambitions. His character embodies the Machiavellian philosophy of “the end justifies the means,” adding layers of moral grey to the narrative. Mike Ndlangamandla, as Siya, provides an interesting counterpoint by positioning himself as a mediator between his siblings, although his character could have been explored in greater depth.
Veteran actress Connie Chiume, in one of her last roles before her death, makes her mark as the Ndlovu matriarch. Her screen presence, though limited, adds weight and credibility to the family dynamic.
Visually, Legacy of Blood takes advantage of the landscapes of KwaZulu-Natal to create a contrast between the natural beauty of the region and the ugliness of human machinations. The cinematography effectively captures both the vast sugar cane fields and the luxurious interiors of corporate offices, symbolising the duality between primary production and the world of high-level business.
The series addresses relevant issues in the South African and global context, such as corporate corruption, the legacy of colonialism in current economic structures and generational tensions in family businesses. However, these issues often take a backseat to personal dramas and palace intrigues, missing the opportunity to offer a deeper critique of the economic and social system.
With its 20 episodes, ‘Legado de sangre’ risks falling into narrative redundancy, a common danger in long-running television productions. Although the plot maintains a generally agile pace, there are moments when the story seems to stagnate, resorting to secondary subplots that do not always contribute significantly to the main narrative arc.
It is interesting to note that ‘Legado de sangre’ is an adaptation of the Mexican series ‘Monarca’, which raises questions about the universality of certain family and business dynamics, as well as the ability of stories to move between different cultural contexts. In this sense, the series manages to anchor the narrative in South African reality, although it sometimes falls into generalities that could be applied to any corporate family drama.
The treatment of the female characters deserves special mention. Although Khanyi is presented as a strong and central figure, there are moments when her characterization seems to oscillate between the archetype of the ruthless executive and that of the devoted daughter, without achieving a completely satisfactory synthesis of both facets.
‘Legacy of Blood’ joins a growing list of African productions that are gaining visibility on global streaming platforms. This is significant in itself, as it contributes to diversifying voices and perspectives in the international audiovisual landscape. However, the series fails to completely break away from certain narrative formulas that may be familiar to global audiences, raising the question of to what extent these productions are shaped by international market expectations to the detriment of a more authentically local voice.
In conclusion, Legacy of Blood presents itself as an ambitious family drama that attempts to balance familial tensions with the complexities of the South African business world. While the series achieves moments of effective tension and offers remarkable performances, it does not always succeed in rising above the conventions of the genre. Its value lies in offering a window into the power dynamics in a specific context, but its scope is limited by a perhaps too narrow adherence to tried-and-true narrative formulas. The series raises interesting questions about the personal and social cost of business success, but does not always delve into them as deeply as it could. Legacy of Blood is ultimately a portrait of the moral corrosion that power and ambition can exert on family ties, a universal theme presented through a specifically South African lens.
