In an annual ceremony, the men of a small Xhosa community in South Africa encamp in the mountains of the Eastern Cape to initiate a group of teenage boys into manhood. Following a painful ritual circumcision, the young initiates spend two weeks healing and laboring under the alternately aggressive and mentoring care of their male elders. Xolani, a factory worker by day and former initiate himself, returns to the mountain each year as one of those elders. This time, he is entrusted with a teenager named Kwanda, the arrogant and disinterested son of a wealthy villager — a Johannesburg kid whom most of the other rural boys consider to be spoiled. This is an environment wholly dedicated to the traditional mores of patriarchal power and swaggering heterosexuality, where Xolani’s gentle and introverted nature is an aberration — and his attraction to men is a desperately held secret. Xolani’s clandestine love affair with a fellow caregiver adds further dramatic tension and a swirl of competing emotions to this beautifully acted story — well received at its 2017 Sundance Film Festival debut — in which an ancient and accepted culture collides with secret and sometimes dangerous passions. Director John Trengove, working with a Xhosa producer and co-writer, exposes more than one type of wound in his feature film debut (his short film Ibhokhwe also explored male circumcision), as Kwanda actively defies the fraternal code forced upon him, and Xolani struggles to reconcile the traditions of his people with his own desires and identity. Every moment of The Wound evokes the question, “What defines manhood?”

Dez and Terri, a mixed-race couple married 20 years and adoptive parents, they are the trailblazing lesbians of the New South Africa. But, have these freedoms guaranteed them happiness? Asanda, their 18 year old adopted daughter, is the poster child for South Africa’s diversity but describes herself as “an experiment”, being made up as she goes along. She meets Shado, an enigmatic Tommy Boy from Khayalitsha, a township on the edge of Cape Town, and a different picture of the New South Africa emerges.

Introverted Juan, manager of a mannequin factory, lives alone with his eighteen-year-old gay son, Pablo. Whilst Pablo blithely studies dance, Juan is hoping that, after twenty-five years at the firm, his boss will consider him for a partnership. When Pablo is badly wounded in a brutal homophobic attack which sees him hospitalised, his father realises just how far they have become estranged. A lack of witnesses and expensive medical bills force Juan to leave the quiet stability of his life for good and reposition himself in a world where there is discrimination. Time and again his efforts come to nought, until one night on the streets of Santiago he makes up his own rules in order to save his son.