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July 28th, 2012 § Leave a Comment

Not too long very long ago (by any stretch of the imagination) we showed “Dogtooth” at the Grand Illusion, and it was fabulous. I loved it beyond mere normal terms to reach near Herculean levels of Greek admiration. Disheartened and dismayed that it did not win the Oscar it was nominated for, I knew it’s director would have more greatness in store for us, accolades from the Academy be damned.

It begins and ends with a gymnast’s floor routine, just in time for London 2012! See the movie if you’ve got a patriotic bone in your body!

Fast forward to this year (that’s 2012, folks), and he’s at it again, this time with a slightly less in-your-face film, but one that packs more of a deep-rooted yet accessible dose of humanity layered just beneath its surreal surface. Its lesson of people always looking to replace loved ones with someone else with people literally pantomiming that very action gives a simultaneous layering of reality and surreality. While not as shocking or wildly inventive as “Dogtooth,” this film is in many ways a natural evolution for a filmmaker more mature and steady-handed it his delivery of truth in art. It in many ways reminds me of Lars von Trier’s middle period (later in his Dogme 95 period, I.E. “The Idiots” and “Dancer in the Dark”), showing a director growing up fast but also leaving behind some things that may leave hardcore “Dogtooth” fans wanting. But as a “Dogtooth” fan, I’m happy he didn’t retread the same territory.

—no late nights, get some rest, dan

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