EO

Mychal Dymek’s superb cinematography lends distinction to the film and, combined with the director’s strikingly original visual concepts, including some scenes representing the donkey’s eye view, makes for a visually impressive experience.

The film, by Polish master Jerzy Skolimowski, is both moving and puzzling, a story about an innocent done in a style that doesn’t always have the same innocence.

At 84, the Polish director is doing some of his finest work, and “EO” is a highlight in a long, bumpy, but rich career.

Skolimowski's intentions, however, are sometimes confused, as he allocates a personal "point of view" camera shot to Eo, and later gives the same perspective to a rolling football and a robotic dog. Still, the imagery is breathtaking.

What is clear is that this donkey’s-eye view of the world sees mankind in all its madness; the laughter and the cruelty; the kindness and the killing (it’s not just animals who suffer sudden death); the love and the hatred intertwined.

Despite the claustrophobic setting, Diop crafts an evocative modern retelling of Medea, with detailed notes on femininity, immigration and race.

An extremely difficult film to watch at times but one that packs one hell of a punch with its message. Be prepared you will cry but the journey is worth it.

Eo is a very special treat for anyone who really cares about how personal, idiosyncratic and unexpected a visit to the cinema can still be.

[Uses] a fresh, empathetic approach that, even in its obvious dramatic liberties, makes us meditate on both the depth of experience that may be unfolding in our animal neighbors and our role in shaping it.

The result is disconcerting, lysergic, surreal, but in several passages fascinating. A genuine beast. [Full review in Spanish]