Come Back, Africa

More hard-hitting than his previous film, Rogosin turns his attentions to African apartheid and the racial and class dynamics at play that disrupt the lives of Afrikaners. Rogosin’s neo-realism inspirations still take hold here, but with a sort of rebellious spirit to it, especially knowing that this was filmed mostly in secret. The editing of the film is particularly nice, giving the film a nice rhythm. It is clear that Rogosin was deeply affected and moved by the plight of the Afrikaner under apartheid, placing any perceived fault primarily at the hands of an exploitative system

More hard-hitting than his previous film, Rogosin turns his attentions to African apartheid and the racial and class dynamics at play that disrupt the lives of Afrikaners. Rogosin’s neo-realism inspirations still take hold here, but with a sort of rebellious spirit to it, especially knowing that this was filmed mostly in secret. The editing of the film is particularly nice, giving the film a nice rhythm. It is clear that Rogosin was deeply affected and moved by the plight of the Afrikaner under apartheid, placing any perceived fault primarily at the hands of an exploitative system