This film is now getting a general release in the UK. I saw it at the Leeds International Film Festival. The Catalogue quoted ‘The Playlist’,
“In script and performance, the film is an articulate howl of anguish and rage given depth by a discerning comprehension of the ways various communities can rely on faith for very different means.”
However, Nick Pinkerton in Sight & Sound took a rather different tack, savaging the film in his review. Pinkerton has form as he equally savaged Spike Lee’s Chi-Raq. In both cases he has a certain amount of justification and I agree with many of his criticisms. But I also have strong reservations about his critique. For one he mixes ‘art’ and ‘artist’ in his comments: and the relevance of this escaped me. More importantly he does not discuss the substance of the film, concentrating on its form and style.
But it is the substance of the film that makes it both very interesting and important.
“Nate Parker’s directorial début is a searing account of the life of Nat Turner, the enslaved African-American who spearheaded an insurrection in 1831. Turner believed that revolutionary violence would awaken others to the infernal mistreatment of slaves, and he died for this cause.” (LIFF Catalogue).
I would think that this slave rebellion is not that well known in the UK but it would be in the United States. I read an account some years ago in William Styron’s fine but controversial novel ‘The Confessions of Nat Turner’ (1966). Turner was born into slavery but grew up literate and with an intimate knowledge of the bible. He frequently had what he believed were visions and was an influential figure among the slaves. In August 1831 he led a rebellion in Southampton County, Virginia. About 60 white people were killed before the rebellion was suppressed by armed whites supported by troops. About 50 black rebels were killed but subsequently several hundred black slaves were murdered by outraged and fearful white mobs.
Styron’s novel concentrated on the rebellion and presented this through the voice of Turner himself. The Birth of a Nation works as a biopic presenting Turner’s life from childhood to the actual rebellion. The insurrection only comes at the end of the film and I was expecting it to be treated in much greater detail than the film offers. We only see a couple of deaths until the confrontation with the armed whites and the military. Much of the film is given over to Tuner’s life and his religion. The visions that he experienced are not really adequately presented. And there is an amount of screen time devoted to his romance and marriage to a fellow slave. There are plot motivations for his turn to violence but the film does not really evoke the apocalyptic drive that seems to have motivated the historical Turner.
The film is conventional in form and style: note the film is presented by Fox Searchlight. Whilst there is onscreen violence it seems aestheticised by the widescreen cinematography and production design: emphasised by the accompanying score which is often rather lush. The acting also seems conventional and dutiful rather than impassioned.
The director, Nate Parker (who also plays Turner), references 12 Years a Slave in an interview. One can see the influence but whilst that film tended to anaesthetise the violence it also had a strong sense of place and character. Farther back there is the influence of the televisions series Roots but that drama offered a much stronger representation of the grim reality of slave life.
The Festival Catalogue quotes Parker:
“The thing I wanted to get right was Nat Turner’s humanity. That this was a man. In history he’s painted as a religious fanatic that just wanted to kill people. I think that was the narrative that was important for white supremacy and the safety and conservation of racism in that time.”
Certainly my memory of the Styron novel is not that of a religious fanatic. And in ‘humanising’ Turner, Parker seems to have reduced him to the conventional. So the film is a disappointment. However as far as I am aware this is the only film or television version of the important historical event available in the UK. And the film is sufficiently well done to hold the attention.
It does not though live up to its title. This is presumably a riposte to the seminal but racist film by D. W. Griffith from 1915 of the same title. But a riposte already exists in the form of Oscar Micheaux’s masterwork Within Our Gates (1920). As far as I am aware there have not been theatrical screenings of this film in the UK. I have been fortunate to see it twice at European Festivals. Perhaps the BFI could arrange for a theatrical format version as part of its ‘Black Stars’ programme. And it would be good to also be able to see the documentary directed by Charles Burnett for Public Television in the USA, Nat Turner: A Troublesome Property (2003).
This is the new Spike Lee film set mainly in Chicago (or Chi-Raq) and which ‘The Guardian‘ review praised with four stars. It added a comment
“magnificent, rage-filled drama.”
I saw the film at the Leeds International Film Festival, The Catalogue quoted the director, who commented
“I think that we have the same indignation and hatred and anger when we do it to ourselves . . . “
on the ‘black-on-‘black violence that is the subject of the film.
I was underwhelmed by the film and found it rather scattergun in its treatment of the important topic. A couple of friends at the Festival offered similar opinions and one of them only gave it one star out of five.
The problem seems to be that the parts are better than the whole. The film uses rap-style dialogue, dramatic scenes, large scale set pieces including musical numbers and sequences that are predominately realist and other sequences that are fantastic even fanciful. I thought the set-pieces worked best, with Lee’s usual panache. The realist drama is based on actual figures in Chicago, a woman campaigner and a male priest. Replaying actual people and events can be tricky and I found some of the dramatic scenes somewhat ineffective.
Peter Bradshaw’s review adds
“It interestingly looks like a filmed stage play in the Aristophantic or maybe Brechtian style.”
Those two playwrights were skilled at balancing drama, irony and satire. Moreover, they worked in the theatrical medium and translating their ideas and practices to the medium of film is often problematic. This only works well when the filmmakers can translate these into the distinctive form of film. Spike Lee did this in a masterful fashion with his seminal Do the Right Thing (1989). Chi-Raq never achieves that level.
Peter Bradshaw also comments that
“it shows women of different ages banding together, organising, taking action.”
I found this aspect less than convincing. There are a series of short sequences where the activists in Chicago are supported by women in other lands and cultures, but there are not really convincing factors to explain this.
And Bradshaw also draws a comparison with Spike Lee’s own
“Bamboozled (2000) or Kevin Willmott’s CSA: The Confederate States of America (20034).”
The first is a masterful satire and one of the exceptional US films of the last couple of decades. The latter is cartoonish and heavy-handed. Though Chi-Raq is better than that it does suffer from the same weaknesses.
I really like Spike Lee’s work so I was seriously disappointed on this occasion
This was the closing film of the Leeds International Film Festival. It is one of three titles competing for the European Parliament’s LUX Prize. [It won the prize.] The other two contenders are My Life as a Courgette (Ma vie de courgette, Switzerland-France and a late addition to the LIFF programme) and As I Open My Eyes (A piene j’ouvre de yeux, France, Tunisia, Belgium, UAR). All three films should receive distribution across the EU, which still includes the UK. The aim of this is to support and publicise ‘quality’ films that address important social and political issues and contribute to building a European identity. The Selection Committee of professionals appointed by the Parliament select a winning title. However, there is also an Audience Award and UK citizens are still able to vote in this. Toni Erdmann is a strong contender as it has received good reviews and is an impressive film that certainly addresses important issues. It is at times very funny, though increasingly I found the humour overpowered by the sadness of the situation and central relationship.
The film centres on a father and daughter, Winfried Conradi (Peter Simonischek) and Ines Conradi (Sandra Hüller). The title character is imported into this relationship by the father.
Ines works for a consultancy firm, presumably venture capitalists. She is the lead person in discussion with Romanian ministers about privatising the country’s oil industry: i.e. downsizing. She is part of the highly paid jet set, moving round for the company. Currently she is based in Bucharest and her father comes to visit her there.
Over a period of weeks we watch both their personal relationship and also aspects of Ines’ work. The latter involves company executives, working acquaintances with whom she socialises in expensive bars and restaurants; and people in the Romanian industry. Her father also meets them. He has a tendency, established in the opening sequences of the film, to play at practical jokes. So he is an ironic and slightly bizarre addition to this privileged circle.
We see a certain amount of the wheeling and dealing, both in the firm where Ines works and between that company and the Romanian government. Only once do we see the actual working people who are pawns in this financial play: this is on a visit to an oil platform. It is clear that for the workers the alternatives of state or private exploitation are equally injurious.
The director of the film, Maren Ade, is quoted in the Festival Catalogue on the characters as ‘comedians’,
“because comedians often have their alter egos, . . . “
Les Grignoux in an extensive review of the film, [which includes nearly all the plotline], picked up on this and discusses the two protagonists in these terms:
“The humour provides a key to interpreting the film, however, and digging slightly deeper beneath the surface quickly reveals the similarities between the contrasting couple of the father and the daughter and two traditional circus characters: Auguste and the whiteface clown.” [In a LUX information pack].
Whilst I’m not fully convinced, this does provide an interesting angle on the film. And in the later stages Ines surprises us by following her father’s penchant for jokes. Up until this point the film has tended to be realist, with sequences often running on in an extended fashion. From this point I found the film’s ending closer to the surreal as the filmmaker sought to offer a resolution.
The film is well produced with some fine cinematography, though this aspect along with the sound and music is subordinated to the working of the relationship and settings.
It is an absorbing though also quite long film. I was engaged and impressed throughout its length. But I was not completely convinced by the way that the changing relationship between father and daughter was handled. Also the back stories to the characters are not that clear and I was aware of this during the film. Much of the action take place in Bucharest but the film apparently opens in Germany, but where is not clear. And Winfried seems to work as a part-time music teacher but in Bucharest he seems to have access to an amount of spending money. And there are characters in Bucharest and other family members who are important important in the film but the focus on the main pair means these are often sketchy as people.
Definitely worth seeing but prepare for two and half hours of viewing. The film is in colour and offers a mixture of German, English and Romanian dialogue, with English subtitles.
This is the new release from Jim Jarmusch. It was the opening film at the Leeds International Film Festival and goes on a ‘wide’ release from November 25th. Jarmusch also scripted the film and the Festival Catalogue quotes him:
” I love variation and repetition in poetry, in music and in art. Whether it’s in Bach or Andy Warhol. In the film I wanted to make this little structure to be a metaphor for life, that every day is a variation on the day before or the day coming up.”
What we get in the film is the slight variations in the life of Paterson (Adam Driver) who lives and works in the city of Paterson. The city is sited slightly north west of New York and on the Passaic River in New Jersey. The city has a famous Great Falls. Its other claim to fame is as the subject of an epic poem by William Carlos Williams, a member of the US modernist poetry movement.
Paterson, the man, is an amateur poet but works as a bus driver. The film has a number of puns and there is a repeated doubling effect. The variations take place over seven days. We see Paterson at work, visiting the Falls in breaks and writing poetry in his notebook. There are occasional encounters including with a much younger would-be poet.
Mornings, evening and night-times are spent at his house which he shares with Laura (Golshifteh Farahani) and her dog Marvin (Nellie, playing in a cross-gender role). Laura seems mainly involved in domestic labour. Marvin, a ‘British Bulldog’, clearly is jealous of Paterson. But his antipathy is likely fuelled by Paterson, on their evening walk, leaving him outside a local bar whilst he has a quiet drink. The bar is where we see the most of local inhabitants and some of the drama in their lives.
The film is low-key as is the humour. The observation of Paterson and his environs is absorbing. However, he is a slightly fey character and Laura is even more so. I did think that Farahani’s part was seriously underwritten. Broken Flowers (2005) has much better characterised female parts, though it is also a more dramatic film. But I thought that Marvin was more developed in character. It would seem though that this will be Nellie’s only film role an end title is dedicated to her memory.
The production of the film is well done. The cinematography by Frederick Elmes is clear, direct and makes good use of settings like the Falls. And the editing, by Alfonso Gonçalves, works well and makes some of the humour in its cuts. The composer Carter Logan, who worked on Jarmusch’s last film Only Lovers Left Alive (2013) adds to the irony with judicious music.
I was under-impressed but I should note that the Sight & Sound review by Henry K. Miller thought this the best work by Jarmusch since Ghost Dog (1999). If your taste is in Jarmusch movies then you may like it more than me. I thought this type of character better done by Wes Anderson, both the leads in his Moonrise Kingdom (2012), Jared Gilman and Kara Hayward, have supporting roles in this film.
I think the poetry may also help some viewers. it is clearly a central interest for Jarmusch. The Festival Catalogue quotes him again on amateur poets:
“. . . I love poets because I never me a poet that was doing it for the money. William Carlos Williams was a full-time doctor and paediatrician . . . They don’t do it for the money. So you know they mean it. They love the form.”
And indeed fans will recognise once again the distinctive form of a Jarmusch movie.
The Japanese title of this film by Fukada Koji translates roughly as ‘Standing on the Edge’, which does have a direct reference later in the narrative, but in some ways ‘Harmonium’ is equally relevant, referring to both the musical instrument and to the concept of (dis)harmony in the family at the centre of the narrative. When the film begins Toshio and Akie have what seems from the outside to be a stable marriage, though perhaps they do seem a little distant from each other. Their small daughter Hotaru is bright and very close to her mother. She is the one who is learning to play the harmonium. Toshio runs a small metal-press workshop from home and one day a man suddenly appears asking for work. Toshio clearly knows who this is but for the audience Yasaka appears mysterious and slightly unnerving. He’s tall and thin and dressed in a crisp white shirt with the sleeves buttoned and dark formal trousers. He walks stiffly and speaks formally. Yasaka is played by Asano Tadanobu, a very well-known Japanese actor who in his early 40s already has around 90 film roles to his credit. In his younger days he was something of a ‘heart-throb’ star of various genre films such as Ichi the Killer and his presence here in such an unusual role is very effective.
Toshio invites Yasaka to lodge with the family (without consulting his wife first) and to work in the metal-press and at first he seems to behave very well. Eventually, as we suspect, his presence has an effect on all three family members. This is a narrative which has been used many times for different purposes. In a play like J. B. Priestley’s An Inspector Calls the outsider comes into a family gathering uninvited and through questioning unearths a range of dark secrets, exposing the corruption in bourgeois society. Sometimes the outsider is more of a religious figure (saint or demon), or possibly a ghost, but the effect is similar. We expect to learn something about this family and we suspect it won’t necessarily be good – or at least what happens will be disturbing.
I don’t want to spoil the narrative, but we do slowly find out what links Toshio and Yasaka and we are led towards a tragedy. The plot then changes and we rejoin a more fractured family at a later date before a finale based on some important coincidences. Overall this is a dark family melodrama presented in a very carefully controlled and composed manner. It is also a form of thriller (Polanski is a director I thought of at various points) – as one reviewer points out, it doesn’t deliver conventional thrills, but sometimes the tension of suspense is unbearable. There are some fantasy sequences suggesting the disturbed state of family members – with phantom appearances of other characters. Fukada’s technique involves removing the clutter and clatter of family life and focusing on relationships. There are moments of melodramatic excess that don’t so much ‘erupt’ but quietly come to our attention and then resonate in a disturbing way. I’ll pick out a couple. Yasaka’s formal attire includes a crisp and dazzlingly white boiler suit for his work on the metal-press. In the trailer below you can see him on the street, suddenly opening the top of the suit to reveal a scarlet T-shirt beneath (the girl’s schoolbag is similarly red). The trailer also includes the harmonium playing a tune which Yasaka teaches to Hotaru – a tune accompanied by the clicking of the metronome.
At Yasaka’s first breakfast time with the family he eats at a ferocious speed, washing up his dishes before the others have finished eating. Perhaps this is a clue to where he has been, but it is in its own way disturbing when Akie takes time to whisk raw egg in her bowl. In the trailer we also hear the start of Hotaru’s story about the spiders who immediately start to eat their mother after their birth. This is discussed in some detail. As I reflect on the film, I realise that there are many such instances which will become more apparent on a second viewing. This is a ‘rich text’ that I’m sure will reward re-viewings. I’m not surprised that it has won prizes, though I think its appeal may be limited as mainstream audiences may find it either too slow and ponderous or too contrived and ‘clumsy’. I think it is the opposite, but then perhaps this is the kind of film I like. UK audiences will get a chance to see it as Eureka/Masters of Cinema plan a release in May 2017. This means we should get a quality DVD/Blu-ray with selected cinema screenings. In the trailer below there is an indication of several plot developments that I have avoided exposing in this blog post, so be warned! It’s a good trailer though and effectively teases you with the qualities of the film.
The title ‘Old Stone’ is a play on the English translation of the Mandarin name Shi Lao, a taxi driver in a ‘third tier’ city in Eastern China. Impressively played by Gang Chen, Shi is the unfortunate man caught up in the scandal of road accidents in contemporary China. When a drunk passenger pulls his arm and causes him to knock over a motor-cyclist, Shi foolishly forgets about the ‘proper procedures’ and takes the injured man to hospital where he undergoes emergency surgery and then falls into a coma. Shi then finds himself liable for all the hospital bills. The taxi company’s insurers won’t pay out because Shi moved the injured man (and therefore what caused his subsequent condition cannot be determined). The police won’t release Shi’s taxi or an accident report.
The sensible course for Shi would be to tell the man’s family that he has no money. As soon as Shi’s wife realises that he is paying hospital bills ever day, she closes their joint account and distances herself from him (she runs a children’s nursery). I won’t spoil the narrative further but clearly this situation can’t go on. Gradually Shi is moved to take drastic action. In reality, those who cause motor accidents in China are sometimes driven to running over the victims again and fleeing. The financial penalty for causing death on the road is less than the cost of paying insurance bills. Old Stone will eventually become a form of film noir in which Shi is the doomed man. As his name implies, Shi is stubborn and obstinate in maintaining his responsibility – he remains true to a collectivist spirit which has been lost in China’s headlong rush into ‘modernity’. Eventually however he is going to be forced into desperate measures.
Writer-director Johnny Ma left Shanghai for Canada aged 10 and returned to work in New York and Shanghai after graduating in 2010 from Columbia. Old Stone was made by a mixed Chinese-Canadian crew and lensed by Leung Ming-Kai from Hong Kong on location in China. At a concise 80 minutes this is a tightly edited and very effective slice of social realism morphing into a film noir crime story. It is remarkable as a first feature. I was reminded of both a Fifth Generation film like The Story of Qui Ju (Zhang Yimou, 1992) and a Sixth Generation film like Beijing Bicycle (Wang Xiaoshuai, 2001). Both these films take a simple premise in which a working-class character seeks some form of justice in the face of bureaucracy and a changing society and, as the title of the second implies, they draw inspiration (directly or indirectly) from neo-realism and films like Bicycle Thieves (Italy 1948). Neo-realism also offers the possibility of melodrama and the noirish ending of Old Stone reminded me of a tragic sequence in Rocco and His Brothers (Italy-France 1960). In North America, the legal problems around car accidents might lead to the arrival of ambulance-chasing unscrupulous lawyers and in Carancho (Argentina 2010) Pablo Trapero explores similar forms of criminality around car crashes in Argentina. This is a universal issue effectively used in this new form of independent cinema in China (i.e. ‘new’ in the sense of the mixed crew and the tighter edit).
I feel I must also say something about the look of Old Stone. When the film began I struggled for a moment when plunged into the middle of a street scene. It struck me that some films seem made for a smaller screen. At times the image looked very grainy when seen close on the large Vue screen. I wondered if it had been shot on 16mm, or perhaps post-produced to give that effect. Either way it enhanced the sense of the neo-realist approach. By contrast Ma also offered us lush shots of treetops blowing in the wind, seemingly as abstract images but later revealed as associated with the film’s finale. Again these images struck me as reminders, first of the start of Wong Kar-wai’s Days of Being Wild (no connection I could spot, except that they are both enigmatic) and, more directly, Bong Joon-ho’s Memories of Murder (South Korea 2003) – a film mixing social and political commentary with a crime investigation by a disorganised and corrupt police team.
Old Stone has impressed at various festivals with Nominations and Prizes. It will definitely be released in North America and I recommend it. Here’s a good trailer.
Mercenaire is the first fiction feature by writer-director Sacha Wolff. While it isn’t anything very unusual in terms of narrative structure or presentation, it scores heavily in introducing a new world for many filmgoers. This is a family drama and sports drama set in the context of post-colonial/neo-colonial French society. The central character Soane is an 18 year-old living in the Wallis Islands, an ‘overseas collectivity’ of France often considered to be part of New Caledonia in the South Pacific. One day he is spotted playing rugby (union) by ‘Abraham’, an agent who plans to ‘sell’ him to a French semi-pro rugby team and thence to take 10% of what he earns. Soane isn’t sure about this arrangement but he needs to escape from his abusive father and he duly sets off for France. But when he arrives the French ‘collecting’ club decide he is too small (though to most of us, like many players from the islands, he seems like a colossus). All Soane can do is to seek out a cousin and join a more desperate club who pay him peanuts but also find him a part-time job. Now he has his father and Abraham (who paid for his airline ticket) as enemies while he struggles to make a new life. How will it all be resolved?
The two generic repertoires provide the narrative with some familiar elements, but there is enough different/unusual material to make this a worthwhile watch and the central performance by Toki Pilioko, a genuine Wallis Islander, is a standout. As the director points out in a Cineuropa interview, most people in France have little or no knowledge of New Caledonia. Soane is therefore treated as an immigrant and his teammates assume he is a Maori and call him an ‘All Black’ (a New Zealand international rugby player). Because of French colonial policy, New Caledonia is part of Metropolitan France and Soane speaks French. He does find himself in a multinational team however. One of the pros is a 35 year-old Georgian, forced to keep playing in the fourth tier (?) of French rugby in order to send money home. These ‘imports’ are treated very badly – paid little and forced to take illegal supplements to add weight and muscle. In a sense they are treated like cattle, similarly pumped with drugs. One ironic consequence of bringing in islanders to act as beefy props is that Soane appreciates one of the local young women who hangs round the team. She sees herself as a ‘fatty’, but Soane thinks she’s beautiful.
I think the family drama is there to broaden the appeal of the sports drama. It is interesting as a narrative but I would have liked a bit more about semi-pro rugby as a business and a culture. The hot bed for rugby in France is the South-West and that’s where the film seems to be set. There is also a semi-pro rugby league structure in the region and I wonder whether this has the same problems with exploitation of islanders. Rugby league in the UK has recruited players from the islands (Fiji, Samoa, Tonga) and I don’t know if they are subject to the same kinds of racist colonialist attitudes. Most Pacific Islanders join teams in Australia or New Zealand and that is another story, beyond my knowledge. Sacha Wolff in his interview says he doesn’t know any other rugby films. Someone should introduce him to This Sporting Life (UK 1963), Lindsay Anderson’s classic British film in which a young miner (Richard Harris) is recruited by the owner of a professional rugby league team precisely because he demonstrates ‘spirit and aggression’ – something Soane has to learn both on the field and off it. More sporting dramas around these kinds of stories would be welcome. I’m not sure if Mercenaire will get any kind of international distribution, but I would recommend it.
Original French trailer:
Excerpt dealing with Soane’s arrival in France (with English subs):
French TV clip with a report on the whole issue of recruiting Polynesians into French rugby.
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.