The South African multi-award winning film about a young South African boy from the ghetto named Tsotsi, meaning Gangster. Tsotsi, who left home as a child to get away from helpless parents, finds a baby in the back seat of a car that he has just stolen. He decides that it his responsibility to take care of the baby and in the process learns that maybe the gangster life isn’t the best way.
Years ago, the young Five Fingers fought for the rural town of Marseilles against brutal police oppression. Now, after fleeing in disgrace, Tau, one of them, returns to Marseilles, seeking only a peaceful life. When he finds the town under new threat, he must reluctantly fight to free it.
A young man reluctantly embarks on a journey to his ancestral land of Lesotho to bury his estranged father, and finds himself drawn to the mystical beauty and hardships of the people and the land he had forgotten.
The wastelands and crowded streets of an African country are traversed by a woman bearing a wooden cross on her back. She is followed by sellers, beggars and passersby, outraged voices, pity and curious glances. Parallel to her, among a herd of sheep, a lamb toddles its way from the far away mountains into the heart of the city, only to find itself dangling, skinned and headless, on a butcher’s shoulder. In the meantime, under the scorching sun, in a roofless house, a woman is persistently knitting a garment, unwinding a thread coiled over her son’s face. ‘Mother, I Am Suffocating. This is My Last Film About You’ is a symbolic social-political voyage of a society, spiralling between religion, identity and collective memory. “I saw in you what they saw, mother. You deserve your war”.
South Africa’s wealth and white privilege has been funded by large scale maiming and killing of people by the gold mining industry. Today gold miner communities across Southern Africa have nothing to show for the wealth they produced except extreme rural underdevelopment and the world’s worst epidemic of TB and silicosis. Through testimonies from communities in mining families throughout Southern Africa and extensive use of contrasting archive materials DYING FOR GOLD tells the story of how we have arrived at this extraordinary situation. DYING FOR GOLD brings to the surface the real cost of South.
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