The Wound – Inxeba (2017)

Directed by: John Trengove | 88 minutes | drama | Actors: Nakhane Touré, Bongile Mantsai, Niza Jay, Thobani Mseleni, Gabriel Mini, Zwelakhe Mtsaka, Menzeleli Majola, Gamelihle Bovana, Halalisani Bradley Cebekhulu, Inga Qwede, Sibabalwe Ngqayana, Siphosethu Ngcetane, Ludo Mhloffyanda, L.

Despite the fact that countless films have been made about it, the road to adulthood in the West is actually not that many words wasted in everyday life. Boys and girls enter puberty, have their periods or have their first ejaculation and fall in love for the first time. In any case, these events are not shared in the community, or even worse, experienced together. How different it is in South Africa, where boys are initiated into men during the Ukwaluka. That starts with a painful circumcision, where they are deemed “I am a man!” instead of shouting “Ouch!” Then they are entrusted to the care of a number of older men, the wound is healed, they are fasted and all kinds of traditional rituals are performed to make the boys into men. Although you would only expect these kinds of rituals in a Jean M. Auel ‘tribe of the gay bear’ setting, this old tradition still takes place (and this previously secret tradition only came to light when Nelson Mandela biography).

‘The Wound’ (‘Inxeba’) is about this ritual. However, the main character is not one of the boys who has embarked on the road to adulthood, but one of the companions, Xolani (a fantastic Nakhane Touré). He returns every year to assist the boys, but his motivation does not come from a strong sense of community. He is still in love with his childhood friend Vija (Bongile Mantsai) and uses this period to stay close to him. This is all done in the greatest secrecy. Because although homosexuality is allowed in South Africa, Vija is married and in the Xhosa community, from which the ritual takes place, showing emotions, let alone showing love to someone of the same sex, is taboo.

The relationship between Xolani and Vija soon becomes clear and the observant Kwanda (Niza Jay), the boy in Xolani’s group, quickly realizes this too. Kwanda, from Johannesburg, is an outcast himself because his father is a wealthy businessman. His iPhone contrasts sharply with the Blackberries of the other country-raised boys. In addition, he is also homosexual himself. Kwanda confronts Xolani about his feelings for Vija and puts her finger on the sore spot. Tension rises between the three men. There doesn’t seem to be a happy ending for any of the characters.

Director and screenwriter John Trengrove, for whom ‘The Wound’ marks his feature film debut, leaves the sense or nonsense of the gruesome ritual for what it is – although he does make it clear that the initiation process may have less and less legitimacy – and focuses on the events , and what this means for the characters, after that. The fact that he does not pass judgment is a strong point of the film. The characters benefit from this approach and come to full maturity. The self-assured Kwanda seems many times more mature than the self-struggling older Xolani, the boy knows how to expose the truth with a few sharp remarks. The importance of masculinity is paramount in this community and Vija is a prime example of this.

‘The Wound’ is not exactly easy fare, but it does keep the viewer glued to the canvas for an hour and a half. At the end the story gets a bit out of hand, while you hope against your better judgment that the scenario doesn’t take that direction. The film is beautifully portrayed by the Dutch-born cinematographer Paul Özgür (‘Prince’, ‘Find that stupid bitch and throw her in the river’). Painful and authentic.