Abstract:
In the South African Sesotho-language Western Five Fingers for Marseilles (2018), Tau flees his hometown of Marseilles in the aftermath of a violent incident. Returning after apartheid ended, Tau finds his hometown in ruins at the hands of some of the very individuals—his childhood friends—who were supposed to protect it. Tau seeks to save Marseilles from those who corrupt it and seeks redemption for himself and the town in the process. In this article, we demonstrate that the film borrows genre conventions and iconography from the Western to tell its story of redemption, and in telling this story the film invokes a general disillusionment with contemporary South African politics. Tau’s quest for redemption is as much political as his self-forgiveness is personal, and this redemption is made possible through an atonement for the past to halt the intergenerational violence that characterises South Africa and Marseilles in the post-apartheid era. Marseilles can only be a life-sustaining, generative community in the absence of the violence of colonialism and corruption.
