Tsotsi (2005)

Last updated:
October 4, 2025

Tsotsi (2005) is a powerful South African crime drama directed by Gavin Hood, based on the 1980 novel by Athol Fugard. The film follows a young gangster in Johannesburg who, after a violent act, embarks on a transformative journey that explores themes of guilt, redemption, and humanity.

Table of Contents

Detailed Summary

Opening: The Streets of Johannesburg

The film opens in the heart of a South African township. Tsotsi (played by Presley Chweneyagae), a young gang leader, lives by stealing and violence. His nickname “Tsotsi” literally means “thug” in South African slang — a fitting label for someone who has shut down emotionally to survive. Alongside his small crew, he spends his days mugging and robbing without remorse.

The Murder on the Train

In one of the first scenes, Tsotsi and his gang rob a man on a train. When the victim resists, Tsotsi stabs him to death. The moment sets the tone for Tsotsi’s hardened nature — and the raw realism of life in the slums.

Conflict Within the Gang

During a later confrontation with his friend Boston (Mothusi Magano), Tsotsi’s ruthless character is questioned. Boston asks him if he has any decency left, and when he presses too hard, Tsotsi violently beats him. This act triggers a deep internal conflict in Tsotsi — his conscience begins to awaken.

The Carjacking Incident

Tsotsi flees the scene and, in a random act of violence, steals a car from a wealthy woman (Pumla Dube, played by Terry Pheto). As he drives away, he discovers something shocking in the back seat — a baby. The mother had been shot, and the infant is left crying in the stolen car.

Tsotsi’s Unexpected Responsibility

Panicking, Tsotsi takes the baby home to his shack. Completely unprepared to care for a child, he improvises by stealing milk and baby supplies. The baby becomes a silent mirror to his own lost innocence and childhood trauma.

Miriam and the Path to Redemption

Tsotsi encounters Miriam (Nambitha Mpumlwana), a young widow and mother who helps him feed and care for the baby. Her kindness and calm demeanor stand in stark contrast to Tsotsi’s violent world. Through her, Tsotsi begins to feel compassion and responsibility for another life — perhaps for the first time.

Memories of the Past

Flashbacks reveal that Tsotsi ran away from home as a child after enduring an abusive father and a dying, ill mother. These memories explain his emotional detachment and fear of intimacy. The baby becomes a symbol of the childhood he lost — and the life he could still reclaim.

The Police Investigation

Meanwhile, the police intensify their search for the missing child. Tsotsi realizes he cannot keep the baby forever. As the tension mounts, his moral struggle deepens.

Movie Ending

In the film’s deeply emotional finale, Tsotsi decides to return the baby to its rightful parents. He goes back to the wealthy neighborhood and approaches the Dubes’ house. Pumla, the baby’s mother, is home and calls the police as Tsotsi stands at her gate, holding her child.

When the police arrive, Tsotsi holds the baby in his arms with his hands raised. The mother steps forward, terrified but empathetic, asking for her child. Tsotsi, trembling, slowly hands the baby over — a symbolic act of surrender and redemption.

As he lets go of the baby, the camera lingers on his face — a mix of fear, relief, and realization. The police raise their guns, but the film cuts to black before we see what happens next. This deliberate ambiguity leaves viewers questioning whether Tsotsi survives, but emotionally, his transformation is complete. He has reclaimed his humanity.

Are There Post-Credits Scenes?

No, Tsotsi does not include any post-credits scenes. The story ends powerfully and conclusively, with no need for continuation or additional footage after the credits.

Type of Movie

Tsotsi is a crime drama and coming-of-age story set in the gritty realities of post-apartheid South Africa. It explores themes of redemption, poverty, morality, and forgiveness through an emotionally driven narrative.

Cast

Presley Chweneyagae as Tsotsi
Mothusi Magano as Boston
Terry Pheto as Pumla Dube
Kenneth Nkosi as Aap
Zenzo Ngqobe as Butcher
Nambitha Mpumlwana as Miriam

Film Music and Composer

The film’s soundtrack was composed by Mark Kilian and Paul Hepker, blending African rhythms with emotional orchestral tones. The standout track, “Mdlwembe” by Zola, perfectly captures the mood of the townships — raw, tense, but deeply soulful.

Filming Locations

The movie was filmed in and around Soweto, Johannesburg, South Africa, one of the most historically significant and vibrant townships in the country. Shooting in actual locations brought a sense of realism and authenticity, immersing viewers in the social and economic challenges of everyday life in post-apartheid South Africa.

Awards and Nominations

Academy Award for Best Foreign Language Film (Winner, 2006)
Golden Globe Nomination for Best Foreign Language Film
Toronto International Film Festival People’s Choice Award (Nominee)
Numerous wins and nominations at African film festivals and the BAFTAs.

Behind the Scenes Insights

Director Gavin Hood initially struggled to get the project financed; it took years before production finally began.
Many of the cast members were first-time actors from local South African communities.
The film’s baby was actually portrayed by twins for practical reasons.
Gavin Hood emphasized authenticity, often shooting handheld to immerse audiences in Tsotsi’s chaotic world.

Inspirations and References

Tsotsi is based on Athol Fugard’s 1980 novel of the same name. The story was inspired by real issues facing South Africa’s youth — poverty, crime, and the search for identity. Fugard’s original work was a political and moral exploration of post-apartheid society, and Hood’s adaptation modernizes the setting while preserving its emotional and ethical core.

Alternate Endings and Deleted Scenes

Some deleted scenes included extended interactions between Tsotsi and Miriam, further developing their emotional connection. The ending was originally longer, showing more of the police’s approach, but it was trimmed to leave the finale more ambiguous and emotionally charged.

Book Adaptations and Differences

The novel is set in the apartheid era, while the film is set in post-apartheid South Africa. The change modernized the story and emphasized the ongoing social inequality that persists despite political change. The tone of the book is more philosophical, while the film focuses more on Tsotsi’s personal emotional journey.

Memorable Scenes and Quotes

Key Scenes

Tsotsi discovering the baby in the stolen car — the film’s pivotal turning point.
The tender scene where Miriam helps feed the baby, showing Tsotsi’s first glimpse of care and love.
The flashback to Tsotsi’s childhood, revealing his traumatic past.
The final scene at the gate, where Tsotsi returns the baby — the ultimate act of redemption.

Iconic Quotes

Boston: “Tsotsi, do you even know what decency is?”
Tsotsi: “I want the baby to have a name.”
Miriam: “You can’t hide from what you are, but you can change what you become.”

Easter Eggs and Hidden Details

The baby’s name, David, is the same as Tsotsi’s real name, revealed at the end — symbolizing his rediscovery of identity.
The color palette subtly shifts from cold and dark tones early in the film to warmer hues as Tsotsi redeems himself.
The shack’s broken window visually mirrors Tsotsi’s fractured life.

Trivia

Tsotsi was the first South African film to win an Oscar.
The movie was shot in just six weeks on a modest budget.
The word “Tsotsi” became internationally recognized after the film’s success.
Director Gavin Hood later went on to direct X-Men Origins: Wolverine (2009).

Why Watch?

Watch Tsotsi if you want a deeply emotional story about human transformation set against the raw backdrop of modern South Africa. It’s not just a crime film — it’s a story of grace, redemption, and the power of compassion to heal even the most damaged soul.

Director’s Other Movies

Eye in the Sky (2015)
X-Men Origins: Wolverine (2009)
Rendition (2007)
A Reasonable Man (1999)

Tsotsi (2005)