News of filmmaker and producer Teboho Mahlatsi's death has sent shockwaves throughout the Mzansi entertainment industry.
News of his passing was confirmed by comedian David Kau on Monday afternoon. “It is with the saddest regret that we announce the untimely passing of Filmmaker & Producer - Teboho Moseling Mahlatsi, on the 3rd of July 2023,” shared Kau on behalf of the Mahlatsi family.
Mahlatsi is best known for producing and directing the 90s television series “Yizo Yizo” which recently started streaming on Netflix.
He was also co-director at Bomb Productions which is behind “Shaka iLembe,” “Isibaya”, “Ayeye.”
His work was not only limited to film and television, he also worked on several music videos with some of the country's top artists.
Below are six songs that Mahlatsi brought to life with stellar visuals as the director.
Zola - “Ghetto Fabulous”
Nine years ago, Bomb Shelter dropped the visuals for Zola’s smash hit “Ghetto Fabulous” one of his catalogues biggest hits.
Thembi Seete and Wanda - “Bloma Nice (Sure Ntombazana)” and “Shay’zandla”
During Kwaito music peak, Mahlatsi was right there in the midst of the action, directing two of Thembi Seete’s music videos “Bloma Nice (Sure Ntombazana)” and “Shay’zandla” . Seete and Mahlatsi also worked together on “YIzo Yizo”.
Tumi- Powa
The creative also directed rapper Tumi (Stogie T’s) controversial “Powa”. The rapper shared insight into how he was “blessed” to have worked with Mahlatsi, after he and Kutlwano Ditsele decided to come together and create the video for him.
“I remember that day feeling so blessed that there were people out there like Tebogo. We worked all day, laughed dude even taught me don’t ever shoot a picture with the subject directly light facing, he was super stylish,” he shared in an Instagram post.
Khuli Chana - “Mnatebawen” and “Hazzadazz Move”
Mahlatsi worked on Chana’s biggest hits, setting the standard for Motswako rapper visuals. He worked with director Thabang Moleya on the visuals for “Hazzadazz Move”. Moleya in a post on Instagram reflected about his experience working with the late director.
“On this day of the video shoot, I had an idea of a transition that would take us from day to night. It meant Khuli jumping into the crowd and on ‘his land’ we could be in ‘night’. We were fast running out of daylight with alot of shots to still do.
“I said to him, I don’t think we need that shot anymore. I was panicking in that moment and thought to prioritise other shots. He gently encouraged me to get the shot. He knew that in edit I would miss it. And I didn’t know how much we needed this shot till we got to edit.”