Můj pes Killer
Director:
Mira FornayGuión:
Mira FornayCámara:
Tomáš SyselReparto:
Adam Mihál, Irena Bendová, Libor Filo, Marián Kuruc, Pavol Dynka, Alžbeta Šopinsová, Stanislav Vojt, Jozef Hrnčirík, Patrik Czank, Ján Jankov, Lukáš Závodský (más)Sinopsis(1)
Twenty-year-old Marek, a white skinhead living near the Slovak- Moravian border with his unemployed dad, has just one friend: his dog pitbull Killer, who he has trained for dog fights and for attacking "unwelcome persons." He has not heard from his mum since she left the family after his brother's tragic death 15 years ago, and his dad frequently reminds him that he, not his older brother Lukas, should have been the one to die. But his life turns upside down when he finds a set of letters from his mum that his dad has kept secret all these years. Marek decides to search for his mum in hopes of getting something he has never experienced but always dreamed of – a functional family. When he finally finds her, however, he gets a shocking surprise... (texto oficial de la distribuidora)
(más)Reseñas (4)
In a nutshell, it is captured by the scene in the shoddy train station. It starts with an authentic-sounding monologue on the edge of the shot, which has a flow and an edge, and continues with arranged racist shouting, in which even anonymous voices in the background sound like a controlled chorus. It ends with a poser moment at the railway station, where the protagonist, who defended the Roma "a little", is watched by a chorus of white fellow citizens as a foreign object. It always evokes a certain awkwardness, ostentation, play on effect, albeit many times more stimulating and arranged than in Foxes. In my opinion, even the dramaturgy is not OK - again we have a protagonist who behaves unpredictably, while the main motivation is only clarified after one starts to think a little angrily about whether he has anything to do with another of the director's hysterical creations. However, it is more than bearable, especially thanks to the camera, the work with the environment of the scenic social periphery, which helps the dialogues. They still sound like chants sung an octave higher or lower... Non-actors simply can't handle a learned script other than with a recited text. Sometimes it's funny how hard they try (the character of the protagonist's neighbor). Wouldn't it really be worth it to look for inspiration from Dresen, Seidl and others? Overall, My Dog Killer seems to me like a film which, despite its great ambitions and fundamental theme, gets a little stuck in infantile and static gestures. In order for a character to come to life in infinitely long wordless shots, it requires more than just the decently mastered language of others. Even so, I consider this to be quite a sympathetic attempt that paves the way (already a well-trodden path elsewhere).
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No he tenido una noche de cine tan mala en mucho tiempo. Después de la terrible Fakjů pane učiteli, elegí esta película checo-eslovaca de mala calidad. El guion es muy malo, las actuaciones son muy poco convincentes, está llena de aburridos planos largos e incoherencias. Entiendo bastante bien por qué no tuvo mucho impacto en el entorno checo-eslovaco y también entiendo por qué en el extranjero sí tuvo éxito en festivales.
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But yeah, let the young filmmakers experiment if they want to, but this "raw" depiction of our time, which is actually just shallow, simply cannot captivate the audience. The acting performances are simply bad. Non-actors may deepen the atmosphere, but in this case, they simply undermine it. Nothing can be done about it. As an experiment, why not, but it's just a boring exploration of one person's life. Actually, of one day in one person's life. And not much happens, even though the creators claim otherwise.
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Too long, visually monotonous shots take away from the punch of My Dog Killer and make it a rather boring spectacle. Which is a bit of a shame, because otherwise this realistic social drama is a valuable testimony. (60%)
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