The world of cinema has lost a true visionary. Costa Botes, the acclaimed filmmaker behind the iconic mockumentary Forgotten Silver, has passed away after a nearly decade-long battle with cancer. But here’s where it gets even more poignant—his passion for storytelling never wavered, even in his final weeks. Let’s dive into the life of a man whose films not only entertained but also illuminated the human experience.
Costa Botes, born to Greek parents on the Turkish island of Imbroz and raised in Wellington, New Zealand, was a creative force to be reckoned with. After abandoning his English Literature degree—which he described as 'bored witless'—he found his calling in filmmaking at the Ilam School of Fine Arts in Christchurch. His career spanned over four decades, with more than 40 productions to his name, as documented on New Zealand On Screen (https://www.nzonscreen.com/profile/costa-botes/screenography).
Botes rose to fame in the late 1990s with Forgotten Silver, a mockumentary co-created with Peter Jackson that blurred the lines between reality and fiction. His talent earned him multiple awards, including accolades for Stalin's Sickle (1988), Saving Grace (1999), and Lost in Wonderland (2010). Yet, it was his independent projects that brought him the most satisfaction. Films like When the Cows Came Home, The Last Dogs of Winter, and Angie showcased his ability to craft intimate, thought-provoking stories on shoestring budgets, often with the help of friends and colleagues.
But here’s where it gets controversial: Botes was known for his 'lone wolf' approach, preferring to make decisions independently. Was this a sign of creative genius or a reluctance to compromise? His partner of 14 years, Debs Botes, shared that he took pride in his autonomy, stating, 'He liked being the lone wolf because he made the decisions at the end of the day.' This raises the question: In an industry often driven by collaboration, is there still a place for the solitary artist?
Botes’ impact extended beyond the screen. He was a beloved figure in Wellington’s music scene, both as a player and an avid listener. In his final weeks, he fulfilled a lifelong dream by purchasing a Gibson Les Paul guitar, even posting photos of himself playing it from his hospital bed. This enduring passion for music and storytelling underscores the richness of his life.
And this is the part most people miss: Botes was not just a filmmaker; he was a mentor. Zoe McIntosh, a young filmmaker at the time, recounted how Botes took a chance on her documentary idea for Lost in Wonderland without hesitation. 'No funding applications. No contracts. No catch,' she wrote on the Women in Film & Television website (https://www.wiftnz.org.nz/news/wift-nz-news/on-mentorship-and-the-gift-of-costa-botes/). His forthright honesty and unwavering belief in her vision shaped her career. But was his approach too unconventional for the mainstream? Or was it exactly what the industry needs more of?
Arts and entertainment writer Sarah McMullan praised Botes’ 'no-nonsense attitude and generosity of spirit,' highlighting his ability to connect deeply with people. 'He loved life and he loved people,' she said. 'That’s why he made such beautiful films.' His teaching stints at the NZ Film and TV School, Victoria University, and Massey University further cemented his legacy as a nurturer of talent.
Wellington musician Carol Bean, who worked on Botes’ film crews and played alongside him in bands, admired his authenticity. 'He had a bite. He didn’t suffer fools, but deep down, he was a very compassionate person,' she recalled. Botes once said he liked 'shining lights in the dark corners' with his films, bringing out the best in people and their stories. But does this approach risk romanticizing the harsh realities of life? Or does it offer a much-needed counterbalance to cynicism?
In his final weeks, Botes was cared for at the Mary Potter Hospice in Newtown, Wellington, where he continued to work on a new film. Debs Botes expressed immense gratitude to the staff for accommodating his dogs, editing suite, and guitar, ensuring he remained comfortable until the end. 'He knew what was happening, and he knew it was the best place for him,' she said.
Costa Botes’ life was a testament to the power of storytelling and the enduring human spirit. His films, his music, and his mentorship leave behind a legacy that will inspire generations. But as we reflect on his work, we’re left with a thought-provoking question: In an age of blockbuster budgets and commercial pressures, do we still have room for the 'lone wolf' artist who dares to shine a light in the dark corners?
What do you think? Was Costa Botes a pioneer or an outlier? Share your thoughts in the comments below, and don’t forget to sign up for Ngā Pitopito Kōrero (https://radionz.us6.list-manage.com/subscribe?u=211a938dcf3e634ba2427dde9&id=b3d362e693) for more stories like this delivered straight to your inbox every weekday.
