Joey Magidson
I’m always fascinated by what an actor chooses to make when they step behind the camera. In the case of Embeth Davidtz and Don’t Let’s Go to the Dogs Tonight, she’s chosen to adapt a popular memoir. That in and of itself is not so remarkable, though the content itself is decidedly an unusual choice. It’s to her credit that, despite an occasionally bumpy road, it’s a nice little calling card for her talents behind the camera.
Don’t Let’s Go to the Dogs Tonight has an impressive child performance at its core, as well as confident filmmaking from Davidtz. Watching the young lady at the center of the story, despite the perspective itself being questionable, makes for compelling viewing. It’s a throwback type of drama, one we just don’t see made that much anymore.
The film adapts the memoir of the same name, which depicts growing up in Africa in 1980. Specifically, the perspective belongs to Bobo (Lexi Venter), who lives on her family’s Rhodesian farm during the Bush War’s final stages. We see the bond that Bobo and her family have with their land, as well as those around them, as the impact of the war draws closer and closer to their doorsteps. At eight years old, her life is simple and beautiful, until it isn’t.
Often in voiceover, we hear about Bobo’s mother (Davidtz) and father (Rob Van Vuuren), as well as their African servants Sarah (Zikhona Bali) and Jacob (Fumani N. Shilubana). It’s a real slice of life in a time and place. As the innocence of Bobo is ruined by the war, as well as her mother’s alcoholism, it becomes clear that the life she knew won’t be hers for long. Especially once the results of an election throw her mother’s depression into full blown paranoia, it’s only a matter of time before she’s uprooted from the only land she’s ever called home.
Lexi Venter gives an impressive child performance, one that doesn’t contain any artifice. There’s never a moment where you see the acting, which allows for a bit of verisimilitude that wouldn’t otherwise be there. Venter has a bright future ahead of her. Directing herself, Embeth Davidtz is very good as well, giving herself a role with more to do than anyone else in the cast. This feels like Venter’s show, though Davidtz is plenty showy. Supporting players, in addition to those above, include Anina Hope Reed and more.
Embeth Davidtz directs and pens the adaptation here of Alexandra Fuller‘s bestselling memoir, signaling a very solid handling of filmmaking. Her debut feels mostly smooth, aside from occasionally some slack editing. The only thing to knock her for is choosing to make this African story from the perspective of the white characters, but that’s the nature of adapting Fuller’s story, so it’s hard to really take her to task for it.
Don’t Let’s Go to the Dogs Tonight suggests a bright future behind the camera for Embeth Davidtz. Hopefully she continues to pursue filmmaking, since she has a feel for time and place that’s pretty advanced. If her next film is more on the mainstream side, there’s no telling how far she might go. I know I’ll be watching, regardless.
SCORE: ★★★
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