You know, there's a difference between non-judgmental, fly-on-the-wall approaches to subject matter, and seemingly having nothing to say; this film is the latter. It's just ninety-some minutes of mundane activity, with absolutely no story and only the tiniest shreds of character insight (not helped by Llinás' limited performance). It's a relentlessly dull film that gives you nothing to take from it.
Citarella and Llinás wisely decide not to bother too much with plot; the plotting for films of this subject tends to pan out in a very familiar way. What they do produce is an admirably detailed study that is surprisingly moving. Beautiful cinematography that captures the Argentine changes perfectly. Notable too for having an almost entirely female crew.
I truly wish it was as compelling as it could have been. I feel like dark scenes if better lit would have kept my attention more, and I think the fact that the film had to indicate with text what season we were in indicates weakness. We should have just seen it, experienced it more with her.
The synopsis: "A woman living in exile with a pack of dogs on the outskirts of Buenos Aires. She spends her days fixing her shack, foraging for food, and communing with nature." says absolutely nothing about this beautiful, troubling, frustrating, fascinating, heart-breaking mystery of a film. This is why I have MUBI.
It seems to me that this film is in some ways a direct (feminist?) response to Lisandro Alonso's 'La Libertad,' in that both feature a protagonist living at the fringes of society. (Possibly what made me think of this is that both films feature a rather beautiful shot of their respective protagonists crouching in the golden grasses to take a shit.) But the protagonist here is closer to society: watching, gleaning.
It was great watching this so soon after Homo Sapiens. Both offer a profound cinematic re-contextualisation of the relationship between the human, the nonhuman, and the world. Both have a lot to say about human society by p(l)acing us outside of it. A sparse soundtrack reminiscent of Tindersticks' scores for Claire Denis, which I found surprisingly effective. Finally, I love the contingent movements of the dogs...
A film that doesn't bother with any kind of standard narrative, Dog Lady is instead just a look at a lady who lives outwith society with her dogs. Co-directed and co-written by Laura Citarella and Veronica Llinas (who also plays the titular role), this is a sweet and sour distraction that you may well enjoy as much as I did, but can also easily never regret having missed it.
(2.5 stars) The title does not lie. No story really. Just a peek into a homeless lady's life with her dogs and how they all survive together. Just life being life, you know. It's filmed really, really well. This elevates the film quite a bit since you are not there for the narrative, it's nice that the film is well shot. Very meditative... if that's your kind of thing, you'll love it.
Narcissistic effort to portray a life path only lunatics and saints are able to undertake however Llinás is clearly none of them but perhaps a naive bourgeois whose hermetic and contradictory Dog Lady confusses and alarms. Silence as a way to convey something meaningful through the power of contemplation ends up saying very little. Llinás is clearly fish out of water and her dogs a cute accessory to her fluttering.
This film was hard to pay attention to detail because of very little dialogue, this can be seen as a visual message of life. The idea of the dogs offering companionship, however made me wonder how the pack was able to survive. Wouldn't recommend it for dog lovers, because the tile is misleading. The production of lightning were dark & made details fuzzy. Scenes seemed out of place in the story line throughout society
Dog Lady is a film that pays attention to the little things in life. The film portrays a women who struggles to survive herself, but manages to take care of her loving companions who follow her everywhere. The simplicity is very well portrayed in her house, her lifestyle, and the numerous scenes of her relaxing in nature. The only reason I didn't give 5 stars was the lack of dialog, but overall its a great film.
Prácticamente sin ninguna clase de diálogo (pues no lo necesita), este extraordinario filme plasma visualmente la soledad y las privaciones, pero también la enorme dignidad de la personaje principal, así como el afecto incondicional que profesa a sus perros, quienes le devuelven a ella a raudales el amor que casi todos sus congéneres le niegan.
It's more than an hour into this mostly-wordless, often-inscrutable story before we catch a rare glimpse of the title character's inner life. Mostly, the film asks us to be content eavesdropping on the equally idyllic and punishing daily survival of Dog Lady and her brood on the rural outskirts. Whether you enjoy the film's powerhouse ending may depend on if that insight is enough for you. It sure was for me.
"A se deveni cîine cuiva" înseamnă "A supune și flata cuiva." în limba Japoneză, care este, mă gînd, impertinent dizgrațios pentru cîine. Acestă e un portret puternic al unei femeie care supraviețuiește în logic și lumeă diferită din capitalism omenesc, facîndu-te să reconsiderezi acest cuvînt. // 日本語で“犬になる”とは“誰かに媚びへつらう”というのを意味しているのは、犬に対して恥さらしなほど失礼なことだと思える。今作はその言葉を再考させるような、人間とは別の倫理を以て資本主義とは別の世界を生き抜く、女性の強靭な肖像画なのだ。