The same lens also proves useful when you look at the case in point: ‘Dogtooth’ doesn’t have a definite start and doesn’t have an inspiring end, or an end at all.
I may not have fully agreed with that, now that I perceive every single indie flick I have seen, Hollywood or not, it does become an interesting lens for me to spot and carefully classify one. Even the message-giving, sermonising or case studies in philosophies are reserved for a different tier in commercial cinema. Unassumingly going over the internet, I came across a particular piece claiming that arthouse cinema was meant to inspire dialogue and conversation. Well, I will reserve saying what I felt while watching ‘Dogtooth’ and the kind of diverse things it made me feel till the end of the article, I can say this: ‘Dogtooth’ will take you back to the days when he was truly unbound, and independent as a filmmaker, and might I add, still exploring and experimenting, as opposed to now when he is a filmmaker more confident and grounded in his craft and selling exactly that. The same would be the case with his 2009 Oscar nominated feature ‘Dogtooth’. To term them weird or eccentric would be simplifying and even vilifying them beyond belief and sense. While having seen a fair share of this impactful director’s works, I am yet to form an informed opinion on his directorial style still, but I’ll give you that his films are unlike anything that you may have watched. You probably would have already heard about the Greek auteur Yorgos Lanthimos following his successful stint at the 2019 Oscars with ‘The Favourite’, and his other films that made an impact on western audiences, chief among them being ‘ The Lobster’ and ‘The Killing of a Sacred Deer’.
0 kommentar(er)
