Cannes Film Review – Deadline

It may be impossible for a human being to truly imagine the donkey’s mentality, but Polish veteran director Jerzy Skolimowski does a very compelling job of imagining for the most part how a balanced animal sees and feels the world. Eo.

Robert Bresson’s deep and profoundly moving 1966 study of the same species was clearly imagined as a companion part and response. Au hazard balthazarThe new film, which is being screened at the Cannes Film Festival, creates a fascinating idea of ​​how such an animal could see the world. It was an exemplary, fresh and brilliant work by an 84-year-old director who did not lose his strength or his own way of looking at things, until in the last half hour it moved somewhat off the rails.

Working closely with co-screenwriter Iva Paiskovska and cinematographer Michel Dimek, Skolimovsky uses all sorts of visual devices to see and understand what life looks like to an animal that, unlike many other animals, has no say in the matter. Much more than many animals that live and work closely with humans, they have an active and frequently difficult existence, devoted to just enough work until the vapor is gone, after which they become essentially useless. Unlike horses, donkeys are not athletes. As for many people, it is a story of your birth, working as long as you can and then you die.

The story begins in a Polish circus, which does not seem to be much worse than facing many animals elsewhere. But animal rights activists stopped it, where Eo landed in a really nice place – a pet zoo; There is no pressure. Yet, nothing seems permanent, a fact that EO will have to face frequently throughout his travel life.

For the better part of an hour, Skolimovsky and Dimek show a great ability to visualize and estimate what can be imagined as an animal perspective. The film manages to entertain as well as inform, with its sharp and fun projection in a sharper way than what we are accustomed to do; The whole world looks more captivating, inviting and exciting when the filmmakers experience through increased visual awareness.

Wherever Eo goes, he is working, working; That is the ass. Never letting go of monotony or fatigue, the film manages to convey the seemingly endless repetition of what animals still do, which is how repetitive and out of the ordinary human activities are mostly in this instance.

The film’s imagination and visual brilliance are initially involved and influenced, then a bit of a fall occurs when meeting a wealthy woman (Isabel Hoopart), who turns out to be rather uninterested. This final expansion will also have to deal with what will happen when such animals will be called leisure age in humans; Poodles and cute fat cats may still be allowed to live to the normal end of their day, but understand animals? Not so likely.

Eo This is an unexpected task, although it fits the current concern for improved treatment of animals, an issue that has earned money late. That said, it’s not a tract, but rather, a fun, emotional, and, at the moment, a feverish attempt to imagine the mindset and life of so many different creatures.

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