The screening was preceded by brief talking heads, the director John Trengrove and lead actor Nakhane Touré, giving some insight into the film. Interesting though this is, I don’t want ‘insight’ into a film just before I’m watching it; I prefer sometimes to see films with no preconceptions. I’m not sure what the point of this preface is, A Fantastic Woman had one also, because it’s not selling the film as the audience are already in place.
Whilst I’m on a moan: I understand cinemas need to show adverts and trailers for economic reasons but it’s always a relief to see the BBFC certificate as that means the marketing messages are over. Except before this film after the certificate another promo – for Selfridges – appeared. Unlikely as it may be, if any marketing person for this shop is reading: the effect of this on me is to make me think ‘fuck off’ to the company that is further delaying my pleasure of the film!
I knew nothing of The Wound before sitting down in the cinema other than it was a South African film. The number of producers in the credits indicated a heavy European involvement which is presumably why the film has managed to get distribution in the UK. It’s a good film so deserves to be seen but I’m sure there are many good films from Africa that we never get a chance to watch. The fact that The Wound won best first feature at the London Film Festival also would have helped.
Although it is an international co-production this seemed an entirely African film; it focuses on the initiation rites of the Xhosa people where boys become men after being circumcised and spending a week on a mountain tended by a carer. The portrayal seemed authentic to me and there’s an ethnographic (to an ignorant westerner) fascination at seeing a portrayal of this rite. But there’s more to the film because the protagonist, superbly played, is a closeted homosexual and so he fails to be a ‘man’ in the traditional sense. Another outsider is the ‘city boy’, a place that is defined as effeminate by the rural tradition that the ceremony derives from. At the same time, it’s clear the ‘country boys’ envy urban wealth.
There’s plenty of melodramatic conflict in the narrative and it is shot in the beautiful ‘cradle of life’ World Heritage Site in Eastern Cape. Trengrove tends to keep his camera close to the men and boys which makes for some vertiginous wobbling when they are running but there are some artful compositions to enjoy too.
Trengrove’s introduction tells us the film was controversial because of its depiction of gay Africans; homophobia is, it seems, a traditional value too. Touré stated he had to withdraw from a film because of death threats. Hence The Wound is a brave film as it confronts a taboo subject and it does it with style.
There are some interesting Press Notes available for download from the main production company Urucu. The director co-wrote the film with a local author Thando Mgqolozana whose first novel deals with the initiation process. I was intrigued to read his comment that the film was inspired by a comment by Robert Mugabe to the effect that “homosexuality is a symbol of Western decadence that threatens tradition”.