The exploitation of animals is a tribute to the great Robert Bresson - EO - Marina's review

(Photos are courtesy of the Cannes Film Festival)

Random balthazar, direct in 1966 from the great Robert Bresson is one of the undisputed masterpieces of the history of cinema, without fear of any exaggeration. Several expectations, therefore, aroused the presence in competition at the 75° edition of the Cannes Film Festival of EO, latest effort by filmmaker Jerzy Skolimowski, that - always a great admirer of Bresson's film - wanted, just, create a sort of remake / homage.

EO, therefore, is a donkey that is part of a small provincial circus and is cared for and pampered by a girl who usually performs with him. One day the donkey is sold, he will manage to escape and start a long one, very long journey in the most remote areas of eastern and southern Europe, in which through continuous flashbacks he will continue to remember the happy times with his friend, dreaming of being able to return, one day, from her.

EO, therefore, is a sharp denunciation of the exploitation of animals (as is explicitly demonstrated by a scene in which some demonstrators protest against those involved in the cattle trade), but also a visually appealing feature film, which wisely deviates from what Bresson achieved and that, through a language of its own, pays him homage honestly and sincerely.

A tal fine, Jerzy Skolimowski has created an interesting combination of real and dreamlike, between linear narrative and experimentalism, in which red-toned colors are from the very beginning to convey an unsettling feeling of death and in which an accurate musical commentary gives everything a heart-pounding rhythm. Everything is shown to us exclusively from the point of view of the donkey (frequent, Furthermore, is the use of the subjective), together with him we too feel confused, bewildered, terrified.

EO it's a scream of pain, the dream of a happy past, the hope for a better future that would never seem to come true. A painful and painful feature film, in which a directorial approach in full Skolimowskian style reveals itself, at the same time, obsequiously mindful of who for Skolimowski himself was a fundamental model.

marina fears