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Bopha!
Theatrical release poster
Directed byMorgan Freeman
Screenplay by
Based onBopha!
by Percy Mtwa
Produced byLawrence N. Taubman
Starring
CinematographyDavid Watkin
Edited byNeil Travis
Music byJames Horner
Production
company
Arsenio Hall Communications
Distributed byParamount Pictures
Release dates
  • September 17, 1993 (1993-09-17) (TIFF)
  • September 24, 1993 (1993-09-24) (United States)
Running time
120 minutes
CountryUnited States
LanguageEnglish
Budget$12 million
Box office$212,483

Bopha! is a 1993 American drama film directed by Morgan Freeman and starring Danny Glover. It is Freeman's directorial debut. It was adapted from a 1986 play of the same name.

Story

[edit]

Micah Mangena is a black police officer in South Africa during the apartheid era. Micah is tough but honest, and he believes he is doing the best for his people. He is a sergeant, with a white superior officer and in a mostly-black force. He trains new recruits, all of them black.

His son, Zweli Mangena is in a difficult position – Micah wants him to become a policeman and follow his example. Zweli loves his father, but has doubts about whether it is right to follow in his father's footsteps.

Wider events are barely seen, though they obviously have an influence. In 1986, when the play was written, Nelson Mandela was still in prison. By 1993, when the film was released, he was free but the future was still very uncertain.

Plot

[edit]

The film opens with a black crowd burning alive a black police officer, from a nearby ghetto that they regard as a traitor. It then switches to the peaceful home of Micah "Baba" Mangena, a black sergeant in the South African Police.

His son Zweli Mangena increasingly questions Micah belief and Micah's wish that Zweli would follow him into the police. Micha's wife also has doubts as the once-peaceful township gets polarised and her neighbours start treating her as an enemy.

The initial issue is the use of Afrikaans in the all-black school. The school children speak English, Afrikaans and their own African language, but they resent being taught Afrikaans. To reply in English is an act of rebellion.

Zweli dislikes the system but fears the consequence of open opposition. He arranges a meeting between some of the hot-heads and Pule Rampa, a respected figure who has been in prison for anti-Apartheid activities. He seems to be trying to calm the situation, but the police have learned of the gathering and break it up, arresting some of the students and also Pule Rampa. He had been trying to slip away quietly, but Micah anticipates this and arrests him. Micah is in charge of the operation and has attempted moderation, letting some of the students go free.

Micah wants to conduct his own questioning. But two members of South Africa's Special Branch have recently arrived and take over. They employ much more brutal methods. Both Micah and his white superior suggest to the Special Branch men that they are perhaps provoking opposition rather than quelling it, by torturing and hanging Pule in his cell.

The situation does indeed escalate. Micah and Zweli are increasingly on opposite sides of a widening gap, even though each of them genuinely cares for the other.

Reception

[edit]

The film holds a score of 82% on review aggregator Rotten Tomatoes, based on 11 reviews, with an average rating of 7.0/10.[1] It was a box office bomb, grossing only $212,483 against the production budget of $12 million.

DVD release

[edit]

The film was released as a DVD in 2005 and has a running-time of 114 minutes, 6 minutes shorter than the theatrical version.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Bopha!

View on Grokipedia
from Grokipedia
is a 1993 American drama film directed by Morgan Freeman in his feature-length directorial debut, adapted from a play by South African writer Percy Mtwa, and starring Danny Glover as Sergeant Micah Mangena, a black police officer in an apartheid-era township. Set in 1980s South Africa, the story centers on Mangena's crisis of conscience as he enforces segregation laws while his son, a student activist, joins anti-apartheid protests, leading to familial and ideological confrontation. The film features supporting performances by Alfre Woodard as Mangena's wife and Malcolm McDowell as a white superior, with cinematography by David Watkin capturing the tensions of township life under the regime. Critics praised Glover's portrayal of a man grappling with misplaced pride and Freeman's assured direction, though the production, budgeted at $12 million, grossed only $212,483 domestically, marking it as a commercial failure.

Origins

The Original Play

Percy Mtwa conceived Bopha! in 1984 amid escalating township violence in , including black-on-black conflicts such as necklacings, which highlighted internal divisions within black communities. To ground the work in real experiences, Mtwa interviewed former black policemen, among them Aubrey Radebe, who had briefly served in the force for six months prior to pursuing acting. These discussions informed the play's portrayal of the personal and familial tensions faced by black individuals enforcing apartheid laws, emphasizing individual moral quandaries over broader systemic justifications. The title Bopha! originates from a Zulu term meaning "to bind," "fasten," or "arrest," which police used as a command to detain suspects, symbolizing and restraint in the apartheid context. Structured as an ensemble piece with actors portraying multiple roles to depict life, the play addressed themes of , conflicts, and fractures without romanticizing violence or . Initially staged in at venues like the Market Theatre, Bopha! gained traction through local performances before embarking on international tours, including appearances in the United States in 1986 as part of festivals showcasing black South African works. These outings brought attention to the dilemmas of black policemen as enforcers caught between survival imperatives and communal , drawing from documented apartheid-era policing realities rather than ideological advocacy.

Adaptation to Film

The 1993 film adaptation of Percy Mtwa's play Bopha! was scripted by Brian Bird and John Wierick, who transitioned the stage narrative to a cinematic format suited for broader international audiences by incorporating expanded ensemble scenes to portray intricate family and township interactions. While the original play emphasized the personal turmoil of a black policeman enforcing apartheid laws, the screenplay retained this core internal conflict but amplified communal dynamics through additional character developments and visual storytelling. Morgan Freeman was selected to direct the film as his feature debut, drawn to the project by its exploration of underrepresented viewpoints on apartheid, particularly the dilemmas faced by black law enforcement officers serving the regime. Freeman, influenced by his own experiences with racial injustice in the American South, sought to illuminate the moral complexities of these enforcers, believing the story offered a nuanced perspective often overlooked in apartheid narratives. Significant alterations included the introduction of white characters, such as the district commissioner portrayed by , to explicitly depict the racial hierarchies and command structures underpinning apartheid's authority. These additions provided contextual layers on power imbalances absent or implied in the play's township-centric focus, enabling the film to convey the policeman's crisis within the wider socio-political framework without diluting the protagonist's familial and ideological struggles. Mtwa, whose play drew from his father's real-life experiences as such an officer, contributed insights during to ensure fidelity to the authentic emotional core.

Production

Development Challenges

The development of Bopha! encountered significant financial skepticism from Hollywood distributors, who were wary of investing in another anti-apartheid film following the commercial underperformance of predecessors such as A Dry White Season (1989), A World Apart (1988), and Cry Freedom (1987), which collectively failed to recoup expectations at the box office. Producer Lawrence Taubman, making his feature debut, navigated this hesitancy by leveraging connections, including Arsenio Hall's advocacy, after initial approaches to Sidney Poitier and Quincy Jones yielded no commitments; this effort secured Paramount Pictures' financing for a $11.6 million budget. The project's timing aligned with South Africa's transitional phase after Nelson Mandela's release from prison on February 11, 1990, but before the 1994 democratic elections, creating a narrow window for production amid persistent township violence and political instability that deterred on-location filming in the country. To mitigate these risks, principal photography shifted to in 1992, where ongoing drought-induced power outages and equipment failures posed additional logistical hurdles, necessitating backups like generators. Morgan Freeman, in his directorial debut, envisioned Bopha! as a counter to prevailing Hollywood portrayals by humanizing black South African policemen as individuals enforcing order within a coercive system, rather than reducing them to uncomplicated oppressors or victims, thereby emphasizing internal community conflicts over external white-black binaries. This approach, rooted in the original play's perspective, helped differentiate the film during pitching but required careful navigation of sensitivities tied to apartheid's final years.

Filming and Locations

Principal photography for Bopha! began on August 24, 1992, primarily in and Goromonzi, . These locations served as stand-ins for the film's 1980 setting in Soweto's Moroka section, on Johannesburg's outskirts, allowing the production to evoke the stark urban and peri-urban environments of apartheid-era South African townships through southern Africa's comparable landscapes and architecture. By shooting on location rather than studio sets, director prioritized visual authenticity, capturing both the natural beauty and underlying socio-economic hardships of the region to underscore the narrative's depiction of racial oppression and internal conflict without artificial embellishment.

Cast and Key Personnel

starred as Sergeant Micah Mangena, a black depicted as honest and dutiful in enforcing apartheid-era laws while navigating personal conflicts. portrayed Rosie Mangena, his wife, representing the strains on family life amid socio-political pressures. played De Villiers, the white commanding overseeing black policemen, highlighting command structures in the apartheid police force. Morgan Freeman directed the film, his feature debut, applying his background in roles exploring racial dynamics to guide portrayals of black experiences under apartheid. Percy Mtwa, who authored the original 1986 play, co-wrote the with Brian Bird and John Wierick, incorporating authentic elements of township existence and the dilemmas faced by black enforcers.

Synopsis

Plot Summary

In apartheid-era South Africa in 1980, black police sergeant Micah Mangena enforces pass laws and leads raids in Moroka , viewing his role as essential for maintaining order and protecting the black community from chaos. A second-generation , he trains young black recruits at the East Dorset Police Precinct, instilling values of pride, integrity, and discipline while enjoying relative comforts like a stable home, electricity, and appliances unavailable to many township residents. Mangena's wife, Rosie, grows anxious about the risks after another black officer is burned alive by township residents perceiving him as a collaborator. Their son, Temba, a high school student, becomes increasingly radicalized through activism with peers protesting policies such as mandatory Afrikaans instruction, leading to initial family discussions where Temba challenges his father's allegiance to the apartheid regime. Tensions fracture the family as Temba's involvement in organized escalates into clashes with police, including a raid on a protest gathering where Mangena arrests Temba's friend Pule, prompting threats against the Mangena . The arc peaks with Temba's detention—known as "bopha" in Zulu—forcing Mangena into a personal confrontation with his divided loyalties amid surging township unrest and violence.

Themes and Historical Context

Black Enforcers Under Apartheid

In Bopha!, the protagonist, Sergeant Micah Mangena, embodies the conflicted role of black policemen in the (SAP), enforcing laws that sustain apartheid while viewing their duties as essential for curbing township disorder and protecting residents from rampant criminality. Mangena takes pride in upholding discipline, believing his actions serve the black community's long-term interests by combating violence that predated and transcended political unrest, yet this stance renders him a target for radical activists who label him a collaborator. The film illustrates how such enforcers navigated daily perils, including community backlash, by prioritizing order amid environments where SAP estimates documented 22,000 deaths from crime-related violence in the 15 months ending February 1991 alone. Historically, SAP recruits were integrated into forces tasked with stabilizing volatile townships, where overcrowding, unemployment, and intra-community conflicts fueled pervasive insecurity, often necessitating local enforcers who understood cultural dynamics better than white officers. These individuals confronted resentment as perceived puppets of the regime, despite their exposure to the same socio-economic pressures driving township violence, including limited job prospects that made policing one of few stable employment avenues offering . Motivations for service stemmed primarily from pragmatic survival—access to steady income and housing perks—coupled with a stance against unchecked , rather than ideological allegiance to white authorities, as evidenced by the era's high baseline violence rates that afflicted black communities irrespective of political suppression efforts. The film's depiction disrupts simplistic oppressor-victim dichotomies by humanizing enforcers' commitment to as a response to genuine intra-black threats like activity and robberies, which sources confirm plagued townships pre-1994 and demanded internal policing to prevent . This portrayal underscores causal factors such as economic incentives and anti-crime imperatives, countering narratives that overlook the necessity of black-led enforcement in high-violence settings where external white policing alone proved insufficient and inflammatory. By 1992, South Africa's murder rate had escalated to among the world's highest, amplifying the stakes for officers motivated by restoring basic safety over abstract liberation rhetoric. Such nuance highlights how black policemen, while structurally complicit, operated from rational and protection instincts amid conditions where non-enforcement equated to ceding control to criminal elements.

Family Loyalty Versus Ideological Radicalism

In Bopha!, the Mangena family's dissolution stems from the son Zweli's deliberate prioritization of anti-apartheid activism over filial respect for his father , a black police committed to enforcing order in the . , viewing his role as a pathway to stability and second-generation duty, urges Zweli to join , but Zweli instead aligns with student protesters opposing Afrikaans-medium and broader regime policies, fostering irreconcilable antagonism that fractures household harmony. This shift illustrates radicalism's inherent demand for ideological purity, where collective resistance supersedes individual family obligations, culminating in Zweli's —"bopha" signifying detention in Zulu—and the erosion of paternal authority within the home. Rosie Mangena, the wife and mother, embodies an attempt at reconciliation by invoking traditional African values of kinship and deference, positioning herself as a buffer against Zweli's intransigence and Micah's rigid adherence to protocol. Her interventions highlight the visceral clash between time-honored familial cohesion and the insurgent zeal of youth-led movements, as she navigates pleas for unity amid escalating recriminations. Empirical accounts from townships corroborate such dynamics, where households divided along similar lines, with relatives of enforcers facing or threats from activists enforcing ideological . Despite her efforts, Rosie's proves futile, as Zweli's allegiance to the cause overrides appeals to personal loyalty, accelerating the family's internal collapse. The drama underscores personal agency as the crux of these tensions, portraying Micah's choice to sustain legal enforcement—despite subordinate status to white officers—as an exercise of individual resolve, while Zweli's embrace of confrontational tactics, including of black policemen labeled as sellouts, reflects volitional escalation rather than inexorable systemic compulsion. This framing counters narratives absolving radicals of for intra-community , attributing familial rupture instead to Zweli's causal decision to weaponize against kin, thereby imposing tangible costs like isolation and potential reprisal on those upholding institutional roles. Such choices mirror documented township realities, where black enforcers' families endured targeted from militants, emphasizing human volition over deterministic excuses in perpetuating division.

Broader Socio-Political Realities

In the 1980s, South African townships descended into widespread anarchy during the State of Emergency declared on July 21, 1985, and extended nationwide by 1986, where violence encompassed not only confrontations with state security forces but also rampant intra-community conflicts driven by vigilante groups and youth cadres known as "comrades." These groups, often aligned with anti-apartheid organizations, enforced consumer boycotts, school stayaways, and purges of suspected collaborators through brutal methods, including mob justice and targeted assassinations, contributing to a cycle of black-on-black killings that TIME magazine described as "the war of blacks against blacks." Black policemen, tasked with patrolling these volatile areas, frequently became targets of such retribution, viewed as extensions of the regime yet compelled to suppress disorder that threatened civilian life beyond the enforcement of racial laws alone. A hallmark of this internal brutality was , a practice emerging in the early whereby suspected informers or non-compliant residents were executed by encircling their necks with a gasoline-soaked , doused with , and set ablaze—a method that symbolized deepening divisions and claimed numerous civilian lives, often at the hands of community enforcers rather than solely police actions. Vigilante violence, including by comrades against perceived sellouts, intensified conflicts within black communities, with historical analyses noting state exploitation of these rifts but underscoring the agency of non-state actors in perpetuating civilian casualties that paralleled or in some locales exceeded direct security force interventions. The dismantling of apartheid structures after 1994 revealed enduring challenges in establishing order, as grappled with a rate peaking at approximately 67 per 100,000 in 1994—driven initially by residual political turmoil transitioning into criminal violence—followed by a gradual decline yet persisting at elevated levels, with over 500,000 murders recorded by 2019 and annual rates hovering around 36 per 100,000 as of 2020. This post-transition surge in non-political crime, including warfare and robberies, lent retrospective weight to the pre-1994 role of law enforcers in curbing anarchic elements, independent of segregationist , as unchecked precedents and weakened state contributed to instability that outlasted formal racial policies.

Release and Commercial Performance

Premiere and Distribution

Bopha! had its world premiere at the on September 17, 1993. The film received a in the United States on September 24, 1993, distributed by . This rollout followed a Los Angeles premiere on September 21, 1993, targeting major markets including New York and openings. Paramount's distribution strategy capitalized on director Morgan Freeman's established reputation from roles in films like , positioning Bopha! as his directorial debut to draw audiences interested in apartheid-era dramas from an insider's perspective. The marketing emphasized the story's focus on a black South African police officer's internal conflict in enforcing apartheid laws, offering a viewpoint distinct from white-led narratives in prior productions such as . International distribution faced hurdles tied to the sensitive portrayal of apartheid dynamics shortly before the system's formal end in 1994, though specific markets beyond North America remain sparsely documented in contemporary records. Freeman's prominence aided in securing visibility amid these constraints.

Box Office Results

_Bopha! generated a domestic box office gross of $212,483 in North America after its limited release on September 24, 1993. The film debuted in 26 theaters, earning $88,390 during its opening weekend and comprising approximately 41.6% of its total theatrical earnings. With an estimated production budget of $12 million, the picture achieved neither break-even status nor wide commercial viability, reflecting the inherent risks for politically focused dramas targeting specialized audiences amid mainstream competition from blockbusters like Jurassic Park. This underperformance aligned with patterns observed in prior anti-apartheid themed releases from the late 1980s, such as limited-market entries that struggled against audience preferences for less didactic narratives in the post-Cold War era. Despite generating festival interest, including screenings at events like the , Bopha! failed to expand beyond arthouse circuits, underscoring market saturation with oppression-centric stories by the early 1990s. No significant international grosses were reported, confining its commercial footprint predominantly to the U.S. market.

Reception and Analysis

Critical Evaluations

Roger Ebert awarded Bopha! 3.5 out of 4 stars, praising Danny Glover's performance as a black policeman whose pride leads to tragic disillusionment and the film's exploration of apartheid's complexities beyond simplistic victim-oppressor binaries. The review highlighted the emotional depth in depicting how the system co-opts some black South Africans, noting that viewing apartheid solely in terms of white masters and black victims overlooks the regime's divisive spoils. Variety commended the adaptation as a "heartfelt and anguished cry" that transcends its specific historical context to convey a universal family tragedy amid political upheaval. Critics generally affirmed the strong acting ensemble, with the film earning an 80% approval rating on from 10 reviews, emphasizing its potent humanization of black law enforcers loyal to the apartheid state yet torn by familial and ideological conflicts. described it as a "classic " unfolding against South Africa's struggles, crediting the narrative's focus on personal stakes for bringing apartheid's tensions to life through one man's arc. Detractors, however, found the portrayal of apartheid's evils too familiar, echoing themes from earlier films like and without fresh insight. The deemed it earnest and nonexploitative but faulted its well-trodden ground, suggesting the built-in emotional impact of racial oppression had been sufficiently dramatized before. Some reviews questioned whether centering the story on a single family's internal strife diluted the regime's systemic brutality, lacking the visceral outrage that distinguished more polemical anti-apartheid works; criticized its subdued tone for failing to propel the material with comparable fury.

Achievements and Strengths

's performance as Micah Mangena, the black township policeman, garnered significant praise for its nuanced portrayal of internal conflict and misplaced pride within the apartheid enforcement system. lauded it as "a great performance by , the portrait of a proud man who discovers his pride was entrusted to the wrong things," emphasizing the character's psychological depth over simplistic heroism. The Los Angeles Times described Glover's work as "formidable," noting how it maximized the role's passion and complexity in depicting a man torn between duty and emerging awareness. This characterization highlighted the enforcer's agency and rationalizations, such as interpreting "pig" as an acronym for Pride, Integrity, and Guts and Glory, adding layers to the psychology of collaboration. Morgan Freeman's directorial debut demonstrated assured restraint, prioritizing intimate human drama over propagandistic excess, with effective handling of emotional family tensions. Ebert commended Freeman for framing the narrative "primarily through black eyes," which lent authenticity and avoided the oversimplifications common in apartheid films viewed via white perspectives. The Los Angeles Times highlighted Freeman's creditable command in wrenching interpersonal scenes, supported by Alfre Woodard's "exceptional" depiction of familial loyalty amid societal upheaval. Technical merits, including David Watkin's and James Horner's score, further bolstered these strengths by evoking the stark beauty and tension of southern African townships. Filming on location in enhanced immersion through realistic depictions of township environments and the inclusion of Zulu dialogue in key interactions, grounding the enforcer's worldview in cultural specificity without resorting to . This approach elevated the discourse on black roles in apartheid by foregrounding the moral ambiguities of enforcers—neither pure villains nor unwitting pawns—countering victim-centric tropes prevalent in contemporaneous narratives and underscoring individual agency in oppressive structures.

Criticisms and Limitations

Critics have pointed to the film's predictable , particularly its family-tragedy arc, as a key limitation, with audiences able to anticipate the protagonist's downfall and the escalating conflict from early scenes. This foreseeability, including inevitable raids on student hideouts and familial confrontations, diminishes dramatic tension despite the unusual viewpoint of a enforcer. Reviewers described the story as covering familiar apartheid ground already explored in prior films like and , offering scant new insights into the socio-political dynamics. Technical shortcomings include uneven pacing and repetitive scenes that drain emotional power, transforming potential into tedium through duplicated standoffs and underdeveloped moral dilemmas for the black sergeant character. The portrayal lacks from its theatrical origins, with absent humor and shifts in scripting—such as adding a mother figure—further diluting tension. Depth on the white apartheid enforcers remains limited, reducing them to stereotypical roles that succumb to systemic pressures without nuanced exploration. Debates have arisen over the film's humanization of black "collaborators," with some arguing it risks softening accountability for the apartheid system by depicting the sergeant as almost comically oblivious to economic and social inequities, thereby prioritizing personal over systemic . This approach, while illustrating their pawn-like entrapment, has been faulted for insufficient outrage toward the regime, potentially framing resistance's disruptions—such as those leading to family dissolution—as disproportionately destructive without balancing the oppressors' role. Others counter that such depiction truthfully reveals the intimate toll of radicalism on black families, though mainstream reviews often emphasize the former concern amid broader Hollywood tendencies toward moral simplification in apartheid narratives.

Legacy

Cultural and Historical Influence

has influenced perceptions of apartheid by highlighting the role of policemen as enforcers, thereby complicating narratives of uniform solidarity against white . The film, adapted from Percy Mtwa's play, depicts intra-community tensions, such as those between a loyal to his duty and his activist son, underscoring how some individuals collaborated with the regime for personal advancement or stability, receiving limited privileges in return. This portrayal challenges monolithic accounts by revealing causal mechanisms where maintained order but at the cost of community alienation, prompting viewers to consider trade-offs between security and ideological purity. The work's emphasis on black enforcers prefigures post-apartheid policing legacies in the South African Police Service (SAPS), where similar dynamics of loyalty conflicts and institutional corruption have hindered effective crime control amid persistent violence. Following the 1994 transition, violent crime rates escalated, with recorded murders rising from levels suppressed under apartheid's restrictions to peaks exceeding 21,000 annually by the late 1990s, reflecting breakdowns in order after the lifting of emergency measures and pass laws that had previously curtailed mobility and unrest. Such outcomes illustrate empirical trade-offs: the pursuit of equality often correlated with diminished enforcement capacity, exacerbating disorder in townships once policed rigidly. In educational contexts, Bopha! and its source play have served to illustrate these historical realities, with Mtwa's original production performed internationally to defy apartheid and educate audiences on internal divisions, fostering discussions on causal realism over idealized solidarity myths. Through Morgan Freeman's directorial lens, the film endures in niche analyses of his oeuvre, encouraging reevaluation of intra-black conflicts that disrupt oversimplified racial binaries in apartheid .

Availability and Modern Viewing

The film Bopha! was released on DVD by Paramount Home Video, with copies remaining available for purchase through retailers such as Amazon. In contemporary distribution, it is not widely featured on major subscription streaming services like in most regions, contributing to its relative obscurity outside dedicated rentals. However, digital viewing options persist via video-on-demand platforms, including rental or purchase on , Apple TV, Movies, and Fandango at Home, as well as subscription access on . No significant remasters or high-definition restorations have been produced, preserving its original early-1990s presentation without modern enhancements. This archival format underscores its value as a for examining unfiltered portrayals of South African policing dynamics under apartheid, particularly the internal dilemmas faced by black officers enforcing the system, which empirical accounts from the era confirm involved both and personal agency rather than monolithic villainy. In today's context, the film's availability supports discussions on roles in ethnically divided states, offering a to simplified narratives by highlighting documented tensions between , , and resistance based on historical township unrest data from the . Retrospectives on director Morgan Freeman's work occasionally feature Bopha! for its thematic depth, though it lacks broad revival screenings or festival circuits in recent years. Its persistence through specialty digital channels ensures accessibility for scholars and viewers interested in apartheid-era realism, prioritizing firsthand dramatic reconstructions over ideologically curated retellings.

References

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  41. https://www.filmcomment.com/blog/morgan-freeman-chaplin-award-gala/
  42. https://www.amazon.com/Bopha-Danny-Glover/dp/B0002WZTNE
  43. https://www.netflix.com/title/70020230
  44. https://www.justwatch.com/us/movie/bopha
  45. https://www.primevideo.com/detail/Bopha/0GDNER90SUXUPN0PUHXTPY6J6S
  46. https://www.timeout.com/movies/bopha
  47. https://www.paramountmovies.com/movies/bopha
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