Dogman

Awesome acting and directing, and a nerve-rackingly unpredictable plot, owing to a sycophantic protagonist you keep hoping would grow a brain or a spine. It's a character study, but also a social observation of an unjust, brutal "dog-eat-dog" world where humans better fit their own stereotypes of dogs than the actual dogs do. I can't say if it's more realistic or more grotesque - it has some of both - but I liked it as much as I liked "Gomorra".

Ultimately, it seems to come down to two essential values that define us as honourable human beings: loyalty and self-respect. As encapsulated by the great final shot, there's not much left but you and and your servile companion once you decide to relinquish both of them. The film could've benefited from some slight trimming by wrapping up the ending more nicely, but this is still a great film.

It's surprising that many people took this as a revenge film or a fascism allegory of Italian society or they just focus too rationally on the plot. Yes, Dogman is not subtle. Mainstream films do not always choose to be. But it's a terrific character study of a weak, cowardly man in an environment of toxic masculinity. Garrone mocks that masculinity cruelly and also builds a unique cinematic world. Plus, Marcello Fonte is a revelation.

Garrone's latest has humans acting like mad-dogs and dogs acting like omnipresent angels of the universe (what else is new). Likening human behaviour to that of our canine friends, the film makes prudent observations of master/slave dynamics, companionship, and the downfalls of loyalty. The parallels mostly work, and the film has a lot of heart for such a brutal tragedy. Also, I have a thing for drugged up club scenes and this one has a banger.

An obvious stop gap film for Garrone that displays little of the skill honed on his last 3 films and takes no risks. Like Gomorra, it shows how characters are trapped in corrosive cycles of poverty and violence, except this time it narrows its focus on a simple dog groomer played well by newcomer Fonte.There is some ambiguity to this tale of victimhood and vengeance, but it never really gets out of second gear, and the violent confrontations are curiously devoid of impact.

"Thanks to this film I learned to breathe underwater." -Marcello Fonte

They do say a dog resembles their owner, and here the parallels are quite provoking. To have a mainly silent role unveil these forgotten, social circumstances, is quite crafty considering how brutal the film can feel. It's style hits hard on these communal outskirts that are full of loneliness and abandonment. Something to revisit because of it's cruel, rewarding taste imo.

Garrone's new tale of violence seems detached but is actually pretty devoted to its two main characters -- one of the owns a place named Dogman, the other IS a mad dog who punched whoever stands in his place. His look is sometimes powerful but gives in to too many contemporary tropes -- steadicam, a grim, realistic look with empty spaces to depict Rome's outskirts and a sense of urgency and a non-jugdmental script about such a problematic friendship. Community as collective prison.

This is a solid Italian crime drama film, with some mildly comedic elements. Its set at a dog groomers, with the groomer himself depicted as someone dabbling in drug dealing (supplying) to, I assume, help top up his living. The main character is a reasonably likeable guy - a father and a somewhat introverted man, who tries to lay low and who clearly loves the dogs he cares for in his legit business. Listening to him baby talk the dogs is amusing.

Garrone's previous film Tale of Tales had such a cheeky and enjoyable feeling -- conversely, this film is such a muddy slog of a dull film. The main character seems overly timid and unsure of himself, which I guess he has to be to ensure character development.

Gazi Mahallesinde iyi insan olmak. Köpeklerin bakımını yapan ve kızıyla yaşayan baba, serseri arkadaşı tarafından suistimal edilir. İyi 1 film. Fakat çok iç karartıcı. Filmden çok proje işi. Çok kısır döngü olmasından parıltı göremedim. Filmin sonunda, serseri arkadaşı omuzlarında yük oluyor. Köpeklerin efendisi.

Just one of those small slice-of-life movies about a man stuck between too many obligations to family, neighbors and (fake) friends, trying to balance them all. reminds me of a less colourful work by Emir Kusturica.

It feels more eastern european than italian.

It doesn't paint a very rosy picture of life in Italian suburbs, but it also feels like the story could be told in most European countries these days. It's quite grim, but not as brutal as I expected based on Cannes reviews. The characters of Marcello and Simone; and their relationship feels real and Fonte does a great job as the protagonist. You could see where the film was heading, but it provided enough surprises to keep me "entertained" for the duration. Need to check more from Garrone.

S

Capricórnio

Another Garrone film where we witness the brutality of poverty in southern Italy, in the absence of any state initiated justice. Even in the only scene where the state becomes visible, our guy feels the presence of Simone more than the police officer in front of him. A stunning performance from Fonte and a challenging ethical story of violence and justice. Yet I doubt there is any quality in here to make this more than "decent." I'm not sure if I'll remember this after a year.

Compelling drama is perhaps more interesting to ponder than enjoy in the moment - there's an allegorical tone in this tale of 'masters' and 'dogs' that doesn't quite come together because character details are so sketchy; abrupt cuts and jumps over considerable time frames are disorienting, especially the year long stretch in the mid-section which should have been a turning point for Marcello, but this isn't really developed. Still, it's generally well-performed (with Fonte excellent).

Filmekimi 2018

11/10/2018 Filmekimi &Demet @Nisantaşı City's

To really appreciate this movie is difficult. Maybe you must have a dog.