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Matteo Garrone Italien, 2018

josé neves's rating of the film Dogman

Is there any way out of this endless demonstratively expository sadistic-misanthrope discourse in contemporary cinema? With a realistic turn in this case, inevitably with the camera on the actors faces, the least realistic option in a movie, since they just compose a show off. The last frame, a general open shot, is very good and introduces, finally!, what is missing: a satirical weightlessness, almost Beckettian.