This film shows the wanderings of a little gray donkey who will be confronted with the world of men: moments of joy as well as violence. Warning presence of spoilers
EO – "It's just a donkey" I have never understood these girls, more or less young, who fanaticize the miraculous and capricious dadas notwithstanding the modest beauty of humble donkeys.
The genius of Jerzy Skolimowski lies in his close-ups and fixed shots of this quagmire and in making a rather taciturn film, indeed no need for long speeches. The goal is also to show through the casual and imperturbable gaze of an animal the sad human comedy, disinterested in the jubilation caused by hominids having fun with a ball, discrediting at the same time, with a glassy look, the violence that follows and being curious like a magpie vis-à-vis the strange smoke released by men. On the other hand, I do not know what to think of the strange appearance of Isabelle Huppert.
The end will be considered abrupt and gratuitously cruel by some, I find it, on the contrary, industrious because it conflates superbly feeling of uneasiness due to the fact that we have had time to attach ourselves to the badge of donkey and our inability to stop feeding ourselves with meat which results in a certain blindness.
https://www.youtube.com/watch?v=LFKKNURm10Y
The night of the 12th – "We fight evil by writing reports"
No pedantry, just an unsolved case featuring two flamboyant police officers who report the intrinsic harmfulness of the man influenced by an insaneal patriarchy. We see lymphatic suspects displaying a disconcerting nihilism, highlighting the fragility of an entire generation preferring the negation of everything and the verbiage that accompanies it rather than face life.
Although not successful, the suspense remains intact.
On the line – "I am the Messiah. I'm back"
On the line begins under more than favorable auspices with its furious tension and breathless suspense that make it a flamboyant thriller.
Until an end whose debility is confusing by being a vast sham, so much so that we are not fooled at the second twist. Nevertheless, Mel Gibson proves, once again, that he is able to carry a film at arm's length, just a pity that he did not have the ambition to assume until the final losing all his first palatability.
