As one of the breakout stars to emerge from Mzansi Magic’s Gomora in 2020, Siphesihle “Cee Cee” Ndaba is making a defining career move as a producer with her debut film, Lil_ith.
In an interview with Sowetan, the 28-year-old actress spoke about navigating the transition from actress to producer, why owning stories matters, and what it means to explore contemporary black womanhood through a bold, unapologetic lens as both the actor and producer of the film.
You’re premiering your debut film at the Johannesburg Film Festival this week. How does this moment feel?
I’m excited. It’s so crazy that my debut film [co-produced with Robin de Jager] is travelling around the world and making it to such prestigious festivals. The beauty of it coming back home is that this piece and story were made here. It’s being told by people from here and for people who live here. So it feels like a full-circle moment for us.
You’re known for your breakout role as Mazet on Gomora. What has the transition from actress to producer been like?
I did a couple of things after Gomora. Lemogang Tsipa and I played leads in Killer Front Page, which was exciting. Being on both ends of filmmaking has been an inspiring journey for me. I’ve always wanted to be on the creative side, so producing and starring in a film is like having my cake and eating it too.
Why was stepping into ownership and co-creation important to you?
Our film industry is fairly young. We’ve seen actors who raised us on screen die poor. I think we need agency over our craft. The films I want told aren’t being made, so I had to step up. I can’t be at the mercy of someone else every time I want to express myself. If I believe in a story, it’s my duty to put my body on the line and be part of the conversation.
How did your collaboration with Robin de Jager begin?
Rob is amazing. We met when shooting a commercial, and our chemistry was off the hook. Years later, he sent me a script for his master’s thesis. I read it and said yes immediately. The story is fresh, raw, and full of Joburg realness; exactly the stories South African television needs right now.
The film explores black femininity, sexuality, and agency. What makes Lil_ith different?
Lilith is in a relationship with a white woman, but that’s not the core. The story is about confidence, power, and sensuality, but the characters are never sexualised. Lilith is a cam girl, but there isn’t a single sex scene. She subverts the gaze: she knows she’s desirable and makes it work for her.
There’s a theme of body reclamation. Was that personal for you?
Without a doubt. In 2020, during Covid, I gained the most weight I ever had. I started boxing, went pescatarian, and after intermittent fasting, lost 17kg. Shooting the opening scene, where Lilith dances alone in her room, was cathartic. She’s unapologetic and comfortable in her body … something I had to find within myself and do the shadow work.
How do you approach representation and research in your work?
At Rhodes, I learned to critique work deeply. For Mazet, who became paraplegic, I interviewed 15 differently-abled people to bring authenticity to the role. There’s a nuance that comes from investing in this way.
What does feminism mean to you within an African context?
It’s more than equality. It’s being happy with who you are. If you don’t see yourself, you can’t expect someone else to. It’s about agency; taking power into my own hands and telling the stories I want told.
What are your hopes for the future?
More producing: films and series, more behind the scenes, but I’m not leaving the front of the screen, being an actress is my first love. It’s also our duty to step up and create the industry we want.
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