Don't Let's Go to the Dogs Tonight (2025) - Film Review

      Don’t Let’s Go to the Dogs Tonight, 2025.

      Written and Directed by Embeth Davidtz.

      Featuring Lexi Venter, Embeth Davidtz, Zikhona Bali, Shilubana N Fumani, Rob van Vuuren, Anina Reed, Andreas Damm, Tessa Jubber, Kara du Toit, Albert Pretorius, and Carel Nel.

      SYNOPSIS:

      The movie portrays the life of 8-year-old Bobo on her family’s Rhodesian farm during the final stages of the Bush War. It examines the family's connection to the land of Africa and the war's effects on the area and its people, all through Bobo's viewpoint.

      After viewing writer/director Embeth Davidtz’s aptly named Don’t Let’s Go to the Dogs Tonight, it wasn't surprising to discover that this adaptation only addresses a specific time in Alexandra “Bobo” Fuller’s life as she grew up in a family entangled in the Bush War. Based on her memoir, Davidtz wisely focuses on a part of Bobo's early childhood. The 8-year-old Bobo, impressively portrayed by newcomer Lexi Venter—who convincingly captures both the on-screen presence and the introspective voice likely drawn from the memoir—faces life in a war-torn Rhodesia (soon to become Zimbabwe) while navigating a narrative of coming-of-age and racism, often reflecting the flawed lessons from her mother, Nicola (played by Embeth Davidtz).

      To provide context, this era was characterized by a revolution, with a largely African-American population aspiring to reclaim control of the land through a forthcoming election, which effectively split whites (many of whom had resettled there after World War II) and African Americans. As the matriarch of a financially struggling farming family, Nicola is resolute about staying, no matter the cost. At one point, she told Bobo that if her guns were taken, she would fight for their land with her bare hands.

      The family also has Black servants, Sarah (Zikhona Bali) and Jacob (Shilubana N Fumani), with Sarah frequently looking after Bobo when Nicola is drunk or having a manic episode. This dynamic proves intriguing, as Bobo genuinely enjoys hearing stories from Sarah’s culture and beliefs, yet simultaneously mimics some of her mother’s domineering tendencies, reminiscent of slave owners. This creates friction between Sarah and Jacob, with Sarah showing patience towards Bobo, recognizing her naivete, while Jacob expresses that such behavior is humiliating.

      However, Bobo, raised in unconventional circumstances and engaging in questionable behaviors like smoking and being surrounded by guns, is also perpetually assessing concepts of right and wrong. There’s always an underlying tension, suggesting that a harsh truth about her family’s racism may surface at any moment. Additionally, they are still dealing with the sorrow of losing a daughter and sister to drowning, a tragedy that has significantly impacted Nicola’s mental health and left Bobo suffering from profound guilt.

      Despite being deeply immersive and convincingly recreating the time and place in vivid detail, Don’t Let’s Go to the Dogs Tonight feels somewhat incomplete, as it only represents a fragment of the memoir, even though the film comes to a naturally fitting conclusion. There are narrative arcs that feel unsettled, with aspects of the third act appearing rushed and occasionally prioritizing an impressive performance from Embeth Davidtz over the complex interactions between Bobo and Sarah. Still, Davidtz and cinematographer Willie Nel ensure that Bobo remains a focal point in the frame, predominantly maintaining her perspective. Nevertheless, characters like Bobo’s soldier father (Rob van Vuuren) and her abused sister (Ilana Cilliers) seem underdeveloped.

      Another significant concern is that, while the film is based on Alexandra Fuller’s memoir, the narrative's perspective is predominantly white, which can sometimes prove to be frustrating, despite it possibly being the right approach for this film. Questions remain about Bobo's future, leaving viewers curious beyond the engaging performances and the narrative itself, motivating a desire to read the full memoir and learn more about her life. Ultimately, it is hoped that Embeth Davidtz will have the chance to continue adapting the memoir as Lexi Venter matures to complete the story.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

      Robert Kojder