Important, daring and brave in ways few films ever try to be. Politically volatile for its time, but strangely constricted by its necessity to sermonize and construct a general view of the injustices suffered by a wide population, while not turning into mere empty symbols its human characters. The confluence of documentary filmmaking styles and social rage isn't new but that doesn't mean it isn't greatly effective.
The vast cosmic dimension of his previous film is diluted in an excessive demand that so much wants to demonstrate and mean in such a short time. A kind of an accusatory libel that does not escape to a certain extent cliche when looks at the filmed community as an expression of a preconceived representation. The initial panoramic views are moments of great strength in a a film of an immense importance and courage.
Película de ficción que parece un documental o viceversa. De cualquier manera ¿que película con urgente voluntad de comunicar algo, de expresar verdaderas, nuevas ideas, no es documental? Aquí no sobra ni un solo plano. Estamos, setenta años después, ante una obra que conecta con las raíces del cine y el cinematógrafo de los Lumière. Con guión, mejor elaborada e implicada, en clave de denuncia, contra el apartheid.
Amid the institutionalized racism, economic exploitation, and the poverty and squalor of the townships, Rogosin finds a surprisingly vibrant street culture, with various dance and music performances, as well as a lively, if somewhat intoxicated debate on politics and religion. Read my full review: www.brnrd.net/blog/archive/2008/01/31/iffr-come-back-africa