Xolly Mncwango proves yet again why she's gospel royalty
Image: Supplied
There are concerts, and then there are moments - moments that feel suspended in time, where music becomes more than melody and lyrics, and turns into an atmosphere.
On Sunday, August 3, the Durban International Convention Centre (ICC) became that kind of space, as gospel powerhouse Xolly Mncwango staged day two of her The Unusual Encounter concert.
The buzz had been building for weeks. Fans arrived draped in their Sunday best, voices ready, hearts expectant.
The stage was lit in blue and red colours. And when Mncwango stepped into the spotlight - elegant, poised, every inch the queen she is - the room erupted.
'These shows are unusual because they are not just concerts,' she told the crowd early in the evening. 'They are encounters with God. It is worship, it is testimony, and it is healing all in one.'
From the first note, she made good on that promise.
Backed by a tight band and a choir whose harmonies wrapped around her soaring vocals, she moved effortlessly between her celebrated hits and the fresh treasures from her latest release, 'Unusual Deluxe'.
Video Player is loading.
Play Video
Play
Unmute
Current Time
0:00
/
Duration
-:-
Loaded :
0%
Stream Type LIVE
Seek to live, currently behind live
LIVE
Remaining Time
-
0:00
This is a modal window.
Beginning of dialog window. Escape will cancel and close the window.
Text Color White Black Red Green Blue Yellow Magenta Cyan
Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan
Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan
Transparency Transparent Semi-Transparent Opaque
Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps
Reset
restore all settings to the default values Done
Close Modal Dialog
End of dialog window.
Advertisement
Video Player is loading.
Play Video
Play
Unmute
Current Time
0:00
/
Duration
-:-
Loaded :
0%
Stream Type LIVE
Seek to live, currently behind live
LIVE
Remaining Time
-
0:00
This is a modal window.
Beginning of dialog window. Escape will cancel and close the window.
Text Color White Black Red Green Blue Yellow Magenta Cyan
Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan
Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan
Transparency Transparent Semi-Transparent Opaque
Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps
Reset
restore all settings to the default values Done
Close Modal Dialog
End of dialog window.
Next
Stay
Close ✕
When Mncwango stepped into the spotlight - elegant, poised, every inch the queen she is - the room erupted.
Image: Instagram
The music and the message
'Unusual Deluxe' is more than just a re-release - it's a gift for the fans who have journeyed with her. The extended version of her acclaimed 2024 studio album 'Unusual" retains the 21 original tracks and adds five live recordings from her Carnival City concert earlier this year.
The bonus tracks - 'Igama Lakho', 'Alikho Igama', 'Thank You", 'Healing Power" and 'Liyabasebenzela' - carry a raw, unfiltered power that live worship uniquely brings. 'Some of these songs are not just about music,' she said. 'They are markers of my journey, my faith and my calling as a worship leader.'
On stage in Durban, the new and the old flowed together effortlessly. Her songs transformed the atmosphere - hands lifted, tears fell, and an almost tangible stillness settled over the room as she sang.
From church benches to centre stage
Mncwango's story begins in the pews of her local church, where she first discovered her voice and her purpose.
'I was drawn to the power of worship and how music could shift an atmosphere,' she reflected. 'Gospel was not just a genre to me; it became the way I connected with God on a deeper level.'
That deep connection has never left her. Even now, with award wins, platinum plaques, chart-topping singles and millions of streams to her name, she still describes herself simply: 'Before I am a singer, I am a child of God. That keeps me grounded.'
While other artists might chase trends or industry demands, Mncwango is deliberate about staying close to what she calls 'the Source.' 'I spend time in prayer, I observe life, and I allow God to speak to me through everyday moments,' she said. 'That's what keeps my music fresh.'
Accolades and anointing
Earlier this year, she claimed a Metro FM Music Award - a win she describes as 'God saying, 'I see you.'' She added, 'It is more than recognition. It is encouragement to keep ministering, to keep trusting the path even when it's not always clear.'
Her shelf is already lined with gold and platinum plaques, proof of sales and streaming milestones rarely achieved in the gospel genre.
But for Mncwango, the numbers tell only part of the story. Her true measure of success is the lives touched - the testimonies from fans who say her music carried them through illness, loss or despair.
Women who shaped the woman
When asked who inspires her, Mncwango does not hesitate. 'My mother,' she said with warmth in her voice. 'Her faith, her quiet strength, her prayers … They have carried me through seasons I did not think I would survive. She is the embodiment of grace under pressure.'
'And believe it or not, my little sister. She is the reason I sing professionally. She is such an embodiment of inspiration. She believed in me before I did.'
As for Women's Month, Mncwango sees it as more than just a symbolic date on the calendar.
'It is a time to honour those who came before us, who made space for us to stand tall today,' she said. 'In the industry, it's about breaking barriers, supporting each other and using our voices - not just in song, but in influence.'
Even with her already glittering career, xolly Mncwango's dreams remain expansive.
Image: Supplied
Mentorship and ministry
Her influence is already spilling into mentorship. She has plans - still under wraps - to create something specifically for young women in ministry. 'If it is God's will, absolutely,' she said. 'I believe we are called to pour into others.'
Her advice to emerging artists is firm but nurturing: 'Stay anchored in God before anything else. The industry will test you, and so will life, but if you are rooted in your calling, you will stay grounded."
"Know your worth, protect your voice and soul - literally and spiritually - and never lose the message for the sake of the platform.'
Dreaming beyond borders
Even with her already glittering career, Mncwango's dreams remain expansive. 'Internationally, working with someone like CeCe Winans would be a dream; her humility and anointing are unmatched,' she said.
'Locally, I would love to do something powerful with other women in gospel. There is something about women coming together in worship that shifts things.'
"The Unusual Encounter" - a spiritual homecoming
That night in Durban felt like the culmination of all these threads - her roots, her influences, her message, her anointing. We were not just entertained; we were ministered to.
Songs became prayers, and moments between tracks turned into heartfelt testimonies.
By the time the final notes faded and she took her bow, no one wanted the night to end. Some lingered in their seats - myself included - while others embraced strangers, bound together by the shared experience.
Mncwango's voice - both literal and figurative - had done its work. She had reminded the room that gospel music is not background noise or filler. In her hands, it is a force, a healing balm and a celebration all at once.
Her return to KZN was more than a tour stop. It was a reminder to her fans - and perhaps to herself - that no matter how far she travels or how high her career soars, the foundation laid in her home province still holds.
And just like that, "The Unusual Encounter" lived up to its name - a night that will be remembered not just for its music, but for its ministry.
Lutho Pasiya's top 5 Xolly Mncwango songs you need to listen to: 'Umuhle Baba' is a beautiful, soulful song that celebrates the beauty and strength of a loved one, often interpreted as a tribute to a father or a respected man.
'Jerusalem' is a powerful, inspirational gospel-infused song that reflects themes of faith, hope and spiritual journey. The track symbolises a quest for peace, freedom and divine connection, drawing from the biblical city of Jerusalem as a metaphor for a promised or sacred place.
'Yebo Nkosi' is a heartfelt gospel track filled with praise and worship. The phrase 'Yebo Nkosi' means 'Yes, Lord' in Zulu, and the song expresses deep reverence, gratitude and surrender to God.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
IOL News
16 minutes ago
- IOL News
How an American movie mogul built his own Hollywood in South Africa
The cover of Ted Botha's new book. Image: Mark Levin Over the past two decades, the project to convert the old Natal Command military base into a film studio has been dogged by controversy, litigation, delays and yet more litigation. In a new book, Hollywood on the Veld, Ted Botha resurrects the movie career of Isidore William Schlesinger, a man who took few prisoners and went to achieve remarkable success in less than half the time that the Natal Command saga has dragged on. One of the few photos of Schlesinger, immaculately dressed as always. Image: Hollywood on the Veld Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Next Stay Close ✕ Born in 1871 in a tough Eastside district of New York, Isidore William Schlesinger - known as IW to his close associates - decided to seek his fortune in South Africa. Sailing steerage class, he arrived in Cape Town in 1894 before making his way to Johannesburg. Entering the insurance industry, he travelled the length and breadth of the country. The landscape had a profound escape on him as did the people he met, particularly the Afrikaners, who told him their stories over farm dinner tables. He even tried to sell an insurance policy to President Paul Kruger: he declined. IW was so successful that he founded his own insurance company before going into real estate, establishing new suburbs in Port Elizabeth and Johannesburg (Parkhurst and Orange Grove). In 1906, he paid £60 000 for some acres of veld well aside the town. Naming it Killarney, it was where he would build a film studio in much the same way as the first American moguls built their studios in the citrus groves outside Los Angeles in what became Hollywood. IW's entry into the movie business began in May 1913 when he saw another opportunity: theatres. With no experience in entertainment, he bought the Empire Palace in Johannesburg at an auction, following it up with further purchases of distressed theatres. The Empire Palace in Johannesburg, the purchase of which in 1913 was the beginning of Schlesinger's career as a movie mogul. Image: Hollywood on the Veld By February 1915, he owned 40 across the country with plans to build more. He formed a company, African Theatres, but needing movies to screen in them, he launched a second company, African Films, with a springbok as its logo. In the very month that IW bought the Empire, the 1913 Mineworkers Strike began. Short newsreels of daily events were popular with audiences, but without cameramen, IW immediately bought out a small outfit and began a third company, African Mirror. As the strike grew bloodier, so IW's team was there to record the footage. By July a series of short films were ready to be screened. These morphed into 'The Great Strike', which unintentionally became his first film. Initially banned out of fears that it would incite further violence, it drew capacity crowds as soon as the ban was lifted. It was declared 'a triumph of the bioscope art'. Filming Blood River on location at Elsburg, 1916. On the ridge are hundreds of spectators who arrived to watch. Image: Hollywood on the Veld The first foray into the world of film by IW was indicative of the man himself. A workaholic whose day began at 5 am, he was a visionary who relentlessly pursued opportunities, seeking, even buying talent to make his vision a reality. The Rand Daily Mail wrote that he was never content to stand still, always trying to perfect every business. He might have been short in stature, but he dominated everyone and stood no nonsense. Although the tough New York upbringing never left him, he was always impeccably dressed. Wearing a Savile Row suite, a bowler hat and the smartest shoes, there was never a hair out of place. IW's deep love of South Africa was behind some of his most ground-breaking films. The seductive landscape seemed to have beckoned him as 'with a wand of witchery'. The wide horizons and great open spaces convinced him of the possibilities for cinema art. 'Winning a Continent' told the story of the Great Trek and the Battle of Blood River. (It's Afrikaans title was 'De Voortrekkers'). The scale to make this film in 1916 was staggering. Unusually for the time, it was filmed on location with a cast of 6000, all of whom required costumes. In addition, 12 000 assegais and 5500 knobkieries were made for the Zulu actors while old time muzzle loaders were tracked down for the Boers. A still showing Cetshwayo readying for battle in "Symbol of Sacrifice", 1918. Image: Hollywood on the Veld The most difficult part was filming the Battle of Blood River. On a local mining property, a dam was constructed which could feed into a waterway to create a river. IW persuaded the Rand Water Board to sell him two million gallons, about 20 percent of Johannesburg's daily water consumption. During filming, the director and his crew lost control and the battle between the Voortrekkers and Zulus turned real. One man died and 135 were injured. Meanwhile, conservative Afrikaners had protested that filming was taking place on the sabbath. The director Harold Shaw with the towering Tom Zulu who played Dingaan in "Winning a Continent". The actor was spotted working in a police station in Stanger and brought to Killarney. Image: Hollywood on the Veld The final scene was filmed at Killarney on December 11. The following day the only copy of the film was taken to Pretoria where it was screened for Prime Minister, Louis Botha and senior ministers. Botha confessed that at times he was moved to tears. Its first public screening was four days later on December 16, then known as Dingaan's Day. The movie, the biggest yet made in the British Empire, was declared, 'the greatest ever produced in the history of cinema'. Various authors have noted the similarities between 'Winning a Continent' and the later Hollywood 'trek movies', particularly 'The Covered Wagon', which was a huge box office success. It did not, however, win the Academy Award for Best Picture as stated by Ted Botha. The first Oscar ceremony was in 1929, some years after 'The Covered Wagon' (1923). The young actress Mabel May whom Schlesinger married in 1921. Their son John, born in 1923, would sell off his father's empire and enjoy a life of leisure. Image: Hollywood on the Veld IW poured similar energy into other films, even directing 'Symbol of Sacrifice' (on the Anglo -Zulu Wars, Isandlwana, Rorke's Drift and Ulundi), which had a cast of 20 000 and broke box office records in 1918. On a personal level, its heroine was played by a young actress, Mabel May, with whom IW was smitten. Despite a 20 year age gap, they wed in 1921. IW was 48. One of the battle scenes from "Symbol of Sacrifice". Thousands of extras were used. Other film makers would later mercilessly hack these remarkable sequences and use the footage in their own films. Image: Hollywood on the Veld No less demanding was the filming of Rider Haggard's 'King Solomon's Mines' and 'Allan Quatermain', which were shot back to back 'with no expense to be spared', in 1918. Cast and crew covered 5000 miles travelling from locations in Johannesburg to the Victoria Falls, the Skeleton Coast, the Cango Caves and Portuguese East Africa. It is entirely fitting that the first silent screen versions of these classic novels were filmed in Southern Africa where the young Rider Haggard had found his own inspiration in the 1870s and 1880s. In an echo of the grand, exotic cinemas being built in the US and Britain in the 1920s and 1930s, IW did likewise in four major cities. Cape Town had the Moorish - Spanish Alhambra (1929), Pretoria the Roman - Renaissance Capitol (1931) and Johannesburg the Colosseum (1933) in the modern Art Deco style. Only the Capitol survives - barely, its once glorious auditorium is today a car park. Two of Schlesinger's surviving theaters in Durban. On the left is The Playhouse with the Prince's next door. The photo was taken soon after the £200 000 Playhouse was opened in 1935. Nearly 2000 people went to the opening. Image: Mark Levin It is a pity that the author omitted Durban as both its theatres not only survived but were fully restored in the 1980s and are still in use. The Prince's opened in 1926 followed, after some delay, by the Playhouse in 1935. Its theme was Elizabethan Tudor with a restaurant which soon gave the Royal Hotel (three doors down the road) a run for its money. IW's legacy is far more significant than is realised, yet in the decades since his death in 1949, his name has largely been forgotten. For a man who spent so much of his career in the entertainment world, he obsessively avoided the spotlight, refused to give interviews or be photographed. One apparent contradiction not referred to, is that he commissioned one of the most prominent and influential painters, Edward Roworth, to paint his portrait which manages to capture the essence of IW. Perhaps the Playhouse should commission a bust of IW to remind patrons of his legacy. At his peak, IW owned or controlled 90 companies. Ted Botha has concentrated on his film career and after years of persistent research has restored IW to his rightful place of honour in South Africa's film history. His book is an accessible read, written, not inappropriately, in a style sometimes resembling the Perils of Pauline: will our protagonist escape the next hair - raising ordeal? The footnotes, grouped together at the end of the book, contain some fascinating details which could easily have been incorporated into the main text. The gift to Mrs Smuts on her 74th birthday in 1944 was extraordinary. Jan Smuts (left) and Schlesinger (right) at the opening of the orphanage at Villa Arcadia in 1923. Smuts was godfather to Schlesinger's son John. Mabel and Mrs Smuts became good friends, especially during World War 2. Image: Hollywood on the Veld Two points are worth highlighting. Most of IW's 40 films are lost. South Africa's National Film, Video and Sound Archives has five of IW's films, but no equipment to watch them on. Poorly funded, this almost forgotten archive 'is a sad epitaph to his incredible achievement'. Of equal concern is the state of our libraries where valuable newspapers are fast decaying. No matter how many researchers raise the alarm, still nothing is done. The other point is the public perception of locally made films. As far back as 1923, a journalist wrote of the prejudice against local productions, where a film could be condemned, often without even being seen. It is a perception which, a century later, continues to bedevil this country's fragmented film industry. Hollywood on the Veld: When Movie Mayhem Gripped the City of Gold by Ted Botha (Jonathan Ball, 2025) is available at all good bookstores. SUNDAY TRIBUNE
IOL News
2 hours ago
- IOL News
The best sticky chicken wings in Durban
Kimbap Image: Frank Chemaly Wandering Seoul Where: Shop 78, Protea Mall, 191 Ridge Rd, Umhlanga Rocks Open: Daily 11.30am to 9pm Call: 076 328 7094 The Poet found it, and the name had me intrigued. Wandering Seoul inspired, a place where the lost or the seeking could find home or purpose or nourishment. The restaurant is where bamboo sushi used to be. It's smart and comfortable and had a real makeover. This is not the usual Asian restaurant that is a glorified takeaway with a couple of plastic tables in the corner. No, we were served with beautiful metal chopsticks, to food coming out on artisan dishes. And it was packed. The Poet, her family and I found the last table at the back. Tuna tobika roll Image: Frank Chemaly Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Next Stay Close ✕ Ad loading A pancake which turned out to be more of an omeltte packed with vegetables. Image: Frank Chemaly Korean Barbeque is the thing here with two large tables braaing an array of meats and vegetables at the table. Many were skilled hands at the process. Because the poet had just been to a Korean barbeque in Singapore, she wanted to try their signature bibimbap, which one of the ladies in her aqua class had raved so much about. We order two types of Korean sushi, the kimbap which is chicken sausage and rice wrapped in seaweed and the tuna tobika roll which is similar but includes fresh veg in the wrap. The latter we enjoyed, the former were on the bland side. I suppose chicken sausage is not the most exciting ingredient in the world. Sticky Asian chicken wings. Image: Frank Chemaly Then we tried what was billed as a pancake but in reality was more an omelette stuffed with veg and cut into pieces which you dipped into a spicy soy based sauce. We enjoyed it. Next up were the best sticky Asian chicken wings I've had in Durban. Beautiful succulent chicken with a lovely crisp coating not destroyed by the spicy sticky sauce. We all decided we could eat buckets of these. The Poet and I shared the bibimbap with wagyu beef which came to the table in a little cooking pot topped with a fried egg, before our server poured over the spicy gochujang sauce and tossed it all together for us. I really enjoyed the good kick of that spicy sauce with the meat and rice and crispy veg. There was so much I had leftovers for lunch the next day. Vivek opted for the Teriyaki wagyu with rice which was also enjoyable. Wagyu bibimbap topped with a fried egg. Image: Frank Chemaly Everyone had had more than enough food but somehow they offered us a chinese style creme caramel which I just had to try. It was a wonderfully eggy custard sitting in that burnt caramel syrup. It got the thumbs up Having decided that next time we would try the Korean barbeque, the Poet booked for lunch two weeks later, inviting the entire bridge set along. Sadly on the coldest day of the winter I was at home with flu. They on the other hand had a ball. I will go back and try next time. Food: 3 ½ Service: 4 Ambience: 3 ½
IOL News
3 hours ago
- IOL News
Love and literature: turning the pages on the heartfelt journey in 'My Oxford Year'
Sofia Carson and Corey Mylchreest in 'My Oxford Year'. Image: X The transformative power of romantic relationships has, for generations, formed the premise of classic movies, the arcs of beloved television series and the inspiration behind hit songs. 'My Oxford Year', a new Netflix romantic comedy, is the latest offering which chronicles a love story so heartbreaking, you will be wiping your tears long after the credits have rolled. What elevates this production, which remains one of the streamer's most popular movies since it was released at the beginning of August, is the gut-wrenching plot twist, which has sparked a fierce debate online. Its fresh cast of American and British talents has done an excellent job at portraying the vast range of emotions - from comedy to bliss and heartbreak - that the genre demands. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Next Stay Close ✕ Sofia Carson, the film's leading lady, has also been receiving raving reviews, and she commands the role with the same enigmatic grace which earned her plaudits for 'Purple Heart' and "The Life List", other Netflix movies which had viewers in their feels. She is brilliantly complemented by UK actor Corey Mylchreest, who plays Carson's love interest. Corey Mylchreest and Sofia Carson in a scene from 'My Oxford Year'. Image: X Their chemistry is electrified, and their dynamic makes for a convincing young couple who are trying to make their mark in the world while being delivered a cruel bout of fate. Meanwhile, the supporting cast, which includes Poppy Gilbert, Dougray Scott, Harry Trevaldwyn and Catherine McCormack, also brings a vibrant yet poignant edge to this captivating story. And behind the camera, director Iain Morris, who helmed this riveting film, which is based on Allison Burnett's original screenplay, has done wonders to provide a fresh spin on a hugely popular genre. 'My Oxford Year' opens with Anna De La Vega (Carson), a highly ambitious American student, travelling to study Victorian poetry for a year at the University of Oxford in England. On her first day, she meets Jamie Davenport (Mylchreest), and their first few initial meetings were anything but a fairytale. Jamie drenches Anna in a puddle of dirty water as he speeds past the pavement she is walking on. They later meet at a fish and chip shop, and Anna is not impressed when she finds Jamie trying to hide from his ex-girlfriend. Thinking he is a playboy, she doesn't think much of him and is instead determined to fulfil her lifelong dream of studying poetry at Oxford. Things take another unexpected turn when Anna realises that Jamie is going to be teaching one of her classes. Looking for a way to blow off some steam after things don't go as she had always envisioned, Anna goes to a local pub with her new friends. She ends up spending a romantic night with Jamie as he shows her around her new surroundings, and they share a star-lit stroll. After weeks of trying to deny their connection, a grand romantic gesture around their mutual love of books sees them kick off a steamy romance. This takes them out of their comfort zones and forces them to re-evaluate everything in their lives Anna and Jamie bond over their love of literature as they begin to integrate themselves into each other's lives. The couple introduce each other to new passions as they challenge each other to grow and rid themselves of past traumas. Corey Mylchreest and Sofia Carson in a scene from 'My Oxford Year'. Image: X In this typical case of how opposites attract, Jamie teaches Anna to be less obsessive about taking control and to live in the moment while she teaches him to confront his emotions and to repair his strained family relationships. But as their love story continues to strengthen, Anna is devastated when she learns of a secret which Jamie has been keeping - one that threatens to derail the rest of her life forever. With its themes of love, loss, mortality and the power of dreams, it is no wonder that 'My Oxford Year' has been moving up the trending list. Despite its intense emotional storyline, the movie's intelligent infusion of comedy helps to reflect a multi-faceted story which includes an abundance of both heart and humour. And when you are not sobbing at the fate of the leading lovers, it also does a stellar job of transporting viewers into the idyllic world of Oxford, dubbed the "City of Dreaming Spires'. It gives streamers the chance to escape into this love story, which plays out in this historic English, its prestigious university and its stunning architecture. Overall, it teaches us that while not everything we love is meant to stay, even the fleeting can mark an entire life. * I give it a four out of five stars.
