Wild (Germany 2016)

wild3

Wild doesn’t just promise to be transgressive. It delivers. But it’s transgressive in a carefully structured and composed way with a strong central performance and a coherent aesthetic approach. Technical credits all round are excellent. I’ve seen references to a host of other films and I understand why most of the references are made – but this film stands on its own. Citing the references is needed for us as readers, so we can negotiate the text.

Ania (Lilith Stangenberg) is an office worker in an IT company. She’s alienated by the petty jobs she is given by her boss Boris who summons her by throwing a tennis ball at his glass office wall, behind which Ania works. She lives in a flat with her sister, who then moves out with her boyfriend. Meanwhile, her grandfather is in hospital and has gone into a coma. Ania is now seemingly ‘alone’ when she sees a wolf lurking in her local park on her journey home. She becomes obsessed with the animal and seems determined to not only capture it, but to become ‘one’ with this wild creature. It occurs to me at this point that there is a large genre repertoire of narratives that deal with alienated workers and what happens to them. Kafka’s Gregor in Metamorphosis might be one example.

Try to imagine what this obsession with the wolf might mean in reality. Believe me, writer-director Nicolette Krebitz goes further than you imagined and Lilith Stangenberg seems prepared to do virtually anything that her director requires. The wolf is played by a pair of animals named Nelson and Cossa and as far as I know no CGI was used (or at least non visibly) so the wranglers deserve enormous credit. Stangenberg is just extraordinary.

Woman – wolf – Red Riding Hood is one possible line of investigation. Rabbits as food offer a link to Polanski’s Repulsion. Is Ania losing her sanity? One of the strengths of the film is that it switches direction – so at one point Ania stalks the streets like a vampire looking for bloody meat. At other times it feels as if a kind of feminist revenge is uppermost in her mind – this fits with the growing number of female-centred horror film narratives over the past twenty years. One reviewer mentions Ginger Snaps (Canada 2000) and that sounds a good call. Ania’s only recreation prior to her fascination with the wolf appears to be on a deserted shooting range. The film certainly plays with political sub-texts, including in its use of migrant workers. Ania’s sexuality seems equally malleable and we are also asked to try to work out what is fantasy and what is ‘real’. I was certainly never bored. On the whole the film has received positive responses from film festival critics, but as many point out its transgressive nature is likely to offend the more staid end of the arthouse market. Perhaps it is destined for the smaller niche of cult cinema. That would be a shame. This isn’t in any way a ‘trashy film’ (and that term in itself doesn’t imply a film that is not worth seeing). Instead, this film intelligently explores aspects of our personalities that we usually keep under wraps. I suspect that Wild may be more disturbing to dog-lovers than to those of us who look after (domestic) felines. A wolf is both more dangerous and potentially more loyal.

Here’s a German trailer that gives less away than the English subtitled version. The film was released in Germany on 40 screens in April.

Advertisements

2 comments

  1. John David Hall

    one of the two outstanding films I have seen at LIFF 30 – the other being Quit Staring At My Plate. Not to say I did not enjoy Train To Busan or The Handmaiden also. It does take a little time to understand what is going on with Anna which seems to be some survivalist impulse taken to extremes and sponsored by a general dissociation with her mundane office job and non-existent social life. The sight of the wolf in the park brings out something that has been suppressed and from then on she proves more than capable in pursuing her unconventional desires, even stimulating some changes in her overbearing boss. That she is given great latitude to do this with little meaningful interference from the outside world is perhaps a failing, and her situation at the end out in the wilderness suggests survival will be short-lived but at least she does seem to have reached some kind of transcendence.

    • Roy Stafford

      I read the end of the film as ‘open’. I take the whole sequence to be a fantasy. She is experiencing some kind of exultation but we don’t know what this means in ‘reality’.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s