Oliver Hermanus explores the toxic masculinity of Apartheid-era South Africa and the twin forces of racism and homophobia that fed it in this drama about a young gay military conscript trying to remain invisible.
The vicious racism of Apartheid is eloquently equated with the shame, humiliation and psychological violence of institutionalized homophobia in, a powerful drama set in 1981 South Africa, when homosexuality was still a punishable crime. Director Oliver Hermanus returns to Venice and to top form after the visually stunning but narratively muddled genre exercise of his 2015 competition entry,.
The train journey — masterfully captured by cinematographer Jamie D. Ramsay, with snaking drone shots juxtaposed against the claustrophobic cauldron of testosterone inside — gives Nic his first taste of the volatile situation into which he's stepping. He's already an outsider by virtue of his English education, but he gets lucky in forming a bond with a mellow cabin companion, Michael Sachs , seemingly impervious to the mob mentality of the noisy, drunken throng elsewhere on the train.
An incident that plays on Nic's mind for the duration of his service and on into his return to civilian life occurs during a grueling exercise in which Brand has the platoon digging trenches and then remaining in them overnight through a heavy downpour. Nic is paired with Dylan Stassen , who urges him to huddle together under their one dry blanket.
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