Reine Swart on ‘Bos’ (‘The Forest’)

Reine Swart has captivated audiences with her compelling performances in Lullaby, Die Pro and Triggered. Having moved behind camera for The Hex and Bos, she’s proving herself as a screenwriter, producer and filmmaker. A unique and multifaceted talent, Swart consistently delivers work that is both thought-provoking and deeply engaging – a significant voice in the South African film industry. Spling found out more about the filmmaker’s latest project, a post-apocalyptic romance adventure called Bos.

Can you tell us what Bos is about?

Bos (The Forest) is a post-apocalyptic, bilingual thriller with a romantic core. It follows Heinrich, a man who believes he’s the last person alive in a desolate world, until he encounters Em, a voiceless woman with a mysterious power. As he protects her from dangerous outsiders, an unlikely bond forms. At its heart, it’s a story about love, connection, and hope enduring even in ruin. At the same time, nature itself becomes a silent character; lush, untouched, and thriving in the absence of people, reminding us that Earth can begin to heal when we step aside.

What inspired you to write this particular story?

I was inspired by the idea of isolation and survival, but also by something deeper, what would the world look like without us? During lockdowns and global upheaval, it became clear how quickly nature reclaims space when human presence fades. That inspired the setting of Bos, where the Earth is green, vibrant, and alive; thriving precisely because people are no longer dominating it. I wanted to explore that contrast: human vulnerability versus nature’s resilience.

What was it like working on this feature as a writer and producer?

Challenging but deeply rewarding. Being the writer, producer and editor meant I was involved in every stage; from crafting the emotional heartbeat of the story to managing the logistics of shooting in the wild to putting the puzzle pieces together. It gave me the ability to preserve the film’s core themes: emotional survival, love, and the quiet power of a world where nature is reclaiming its place.

Was there ever any thought of writing a part for yourself and starring in it?

No, I never wanted to star in Bos. From the beginning, I saw myself as the storyteller behind the scenes. Writing, producing, and editing the film already gave me a deep creative connection to the material, and I wanted to stay fully focused on shaping the world and performances from the outside.

Bos has a purity to it with an innocent romance at its core… where did you draw inspiration for this film?

I was drawn to the kind of love that grows slowly and gently, without the noise of modern life. The world of Bos strips everything away, leaving only survival, instinct, and beauty. And in the stillness of this green, flourishing world, two broken people find one another. That juxtaposition between the innocence of their bond and the harshness of their reality felt rich with meaning.

The concept around Em has a raw power… how effectively do you think it translates to screen?

Simone Neethling embodied Em with striking presence. Em’s power isn’t just her silence or abilities, it’s her stillness, her deep connectedness to the world around her. As the Earth heals and blooms, she becomes a reflection of that natural power, otherworldly, yet grounded in something primal. On screen, Simone doesn’t just play Em; she is Em. She melts into the landscape so seamlessly that at times it felt like the forest was breathing with her. Her performance was nothing short of extraordinary, and she brought an emotional depth to the role that exceeded all expectations.

There’s a sympathy for the villains in this film – was this always the intention when you set out to write Bos?

Yes. We wanted them to feel like fractured people. In a world where nature is thriving and humanity is dying out, the villains represent those still clinging to dominance, control, and exploitation. They’re a contrast to Heinrich and Em, who are learning to adapt and listen.

Did you have a hand in the casting, and how well do you think your characters translated to screen? Were there any surprises?

I was closely involved in the casting process, and it was essential to find actors who could convey emotional depth with subtlety and authenticity. Simone Neethling was undoubtedly our biggest surprise, as we did not know about her yet and she completely blew us away with her performance. We were also incredibly grateful to have familiar, established talents join us on this independent project. Ruan Wessels, a well-known and exceptional actor, brought such weight to the role of Heinrich. We were equally fortunate to have powerful performances from Roderick Jaftha, Charlie Bouguenon, Solomon Cupido, and Roy van Eck; each of them added richness and texture to the world of Bos.

How accurately do you think the film represents your script and are there any major differences between the script and the finished product?

The finished film stayed very true to our original vision. One standout was Solomon, who brought a fresh and unexpected interpretation to his character, different from what I had initially imagined, but in the best possible way. His choices added a unique layer that enriched the story.

The film is set predominantly in the forest… what were some of the challenges of filming in such a remote location?

For example Green Hills Forest Lodge is set on a breathtaking piece of land, complete with a working farm that adds to its natural charm. However, the terrain is far from flat; its uneven ground, sloping hills, and rugged paths make navigating the area a physical challenge, especially when carrying gear. Whether you’re hiking through the dense forest or hauling equipment for a shoot, the landscape demands stamina and careful planning. Still, its raw beauty and immersive setting make every step worth it.

Which scene(s) are you most proud of?

I’m especially proud of the tender river scene between Heinrich and Em, as well as the quiet moment where they connect among the rocks, both carry such emotional weight. One scene that really stays with me is when Em follows Heinrich, and he pauses to look up at two owls perched above. One of them flies away, leaving the other behind. It’s a subtle but powerful moment, filled with symbolism; Heinrich is searching for connection, for a partner, and that image captured it beautifully.

If you had to do it all over again, what would you do differently?

In the independent film world, it almost always comes down to budget, there’s never nearly enough of it. I would absolutely love to have had a bigger budget. It would have been a dream to approach certain elements differently, such as shoot more days and have a larger crew. But the truth is, many people talk about making a film and never take the leap. We did. Mari, Hendrik, my parents, our dedicated team, and I came together and made a movie. It wasn’t easy, but we learned so much in the process and most importantly, we finished what we started. But a bigger budget would have eased the process for sure.

What do you hope audiences take away from your film?

I hope they leave with a deeper sense of awe, for the planet, for quiet love, and for the strength found in vulnerability. Bos is also about the idea that nature doesn’t need us to flourish; in fact, it might do better without us. And that realization, while humbling, is also strangely hopeful.