Deborah Ross 20 October 2018 9:00 AM 20 October 2018 9:00 AM Share Twitter Facebook LinkedIn Email Whatsapp Dogman 15, Key Cities Matteo Garrone’s Dogman, which is Italy’s entry for the foreign language Oscar next year, is bleak, unflinching, oppressive, masculine (very), violent (shockingly) and basically everything you’d expect me to hate. Except I didn’t. It is out of the ordinary. It has a magical central performance. It is tense, as you wait for the little man to face down the big man, if he does. Plus there are lots of lovely dogs, which always helps, and none are harmed. Aside, that is, from the yapping chihuahua thrown into a freezer to shut it up. So there is that, too. Garrone, who is known for the terrific Gomorrah, and also the highly odd Tale of Tales, has set the film in a poor Italian coastal town where the skies are grey, the buildings are crumbling and the playground equipment is derelict. Ken Loach territory, in other words, but with a better diet. (The people have little money but cook proper meals and don’t eat rubbish, I couldn’t help but note.) It’s the story of Marcello (Marcello Fonte), who owns the… Read full this story
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Bleak, unflinching, oppressive, violent – and magical: Dogman reviewed have 230 words, post on www.spectator.co.uk at October 20, 2018. This is cached page on wBlogs. If you want remove this page, please contact us.