Produced by final-year BA in Film students at Awil College, the film tells the story of a young man confronting the painful legacy of his father’s abuse as he faces fatherhood himself. The film offers a cultural and emotional reflection on how cycles of violence, particularly within families, can quietly shape who people become. At the heart of the story is Leepile Letlhogile, a man trying to build a life while battling the shadow of his late father’s abusive behaviour. Now expecting a child with his girlfriend, Masego, Leepile must confront his own emotional reactions, many of which mirror those he witnessed in his father. The film asks a central question: Can a person truly break free from what they have inherited? “The film is about how people sometimes unknowingly carry the behaviours and pain of those who came before them,” said Michelle Magwadi, the producer .
“Leepile wants to be different, but everyone around him keeps reminding him that he’s becoming just like his father,” she added. The film’s supporting cast includes Leepile’s deceased father, a friend of the late father and the current partner of the mother. Younger versions of key characters also appear to help show the roots of the trauma and how it developed over time. In total, the film features seven main characters. The film is grounded in a traditional setting. Much of the action takes place in a rondavel at Metsimotlhabe, chosen not only for its visual symbolism but also for its cultural significance. “We wanted to root the story in a familiar environment. The traditional house is where everything begins and ends for Leepile. It represents both safety and memory places where generational cycles live,” she said. The title Setlhoa, drawn from the Setswana language, translates roughly to “burden” or “problem.” According to Magwadi, this reflects the deeper message of the story. “It’s not just about a man dealing with his past, it’s about the emotional weight we carry that comes from our families and our environments,” she added. Although it was developed as a school assignment, the team approaches the production with professional seriousness. The project had a tight two-week shooting schedule and was primarily self-funded. “Each of us received P2, 000 from DTEF as a project allowance, but we had to cover most costs ourselves. That included transport, food, props, and camera gear. We were fortunate to receive support from community members who helped us with locations,” said Magwadi.
