EO

IO świat poznaje, czasem z tej lepszej strony a czasem gorszej. Dla scen osiołka na meczu a potem bawiącego się w gospodzie warto zobaczyć

'EO' is a poetic essay on cruelty and innocence. The film is fought from any plot to focus all the attention on the animal's trip. Some vignettes work better than others, but the feeling that images project is unquestionable.

How do animals perceive us? There is a fair amount of argument to be made about it and it will just be guesswork for the most part. Now how is it that we believe that animals see us through a look made by the human being. That's actually more terrifying because we admit our cruelty and our brutality, we recognize it as part of our nature and we do nothing to change it As with Andrea Arnold's Cow, the odyssey seems to be a kind of acknowledgment of how we interact with these creatures, the existence we provide to them and how, although evolution supposedly separates us as those on the top of the chain, we are still completely linked to them. EO definitely did not enter my 2022 top best and frankly I wasn't expecting it even with all the hype the film carried, however I liked it a lot, which in the end is more than good.

(Mauro Lanari) What will ever be on the agenda the latest trend fashion at festivals? At Cannes 2022 the Jury Prize was awarded jointly to "The eight mountains" for the environmental commitment and to "EO" for the animalist one: the hour had come in favor of deep ecology that can go as far as animism. Skolimowski's film is not a Bressonian remake since, spiritually repudiating to see in the donkey a Christic symbol (would the ox have taken it badly?), it defends it for what it is: a living being mistreated by us humans, obviously the worst among them. Classified as a road movie, it instead has some hallucinatory trip inserts, probably from the animal's subjective perspective. Also in this case: it might look like Kubrick, but he didn't have much to do with ecosophy.