One of the sustained subjects on controversy I’ve observed on South African social media this year is the announcement of and marketing for the new isiXhosa-language film The Wound Inxeba, directed by first-time director John Trengrove and adapted from the novel A Man Who is Not a Man by Thando Mgqolozana. Responses to the trailer, released in the first half of the year, are divided between enthusiasm and outrage, and the topics of discussion on it cover a few different points of interest.
Firstly, and most prominently, is the topic of the film’s setting and overt subjects. The film is set almost entirely at the rural location of the traditional Xhosa practice of initiation, known as ulwaluko, and depicts certain experiences of the young men who undergo it. Ulwaluko is a sacred rite in its Xhosa heritage and the specific details of the process are meant to be secret to everyone except those who have undergone it (which is supposed to be all AmaXhosa men who have come of age); no AmaXhosa women ever find these details out, and certainly no outsiders are supposed to know them. Secondly, the marketing has revealed that the story of the film is told from the perspective of a homosexual man, and that homosexual experience and desire is incorporated into the film’s narrative. People defending the film against attacks and criticism online have said that commentators should first see the film before presuming its content, but the trailer I saw gives the distinct impression that the emotional and psychological effects of the experience of ulwaluko, same-sex attraction in the context of it, as well as varied reactions to that attraction, will be direct subjects of the film.