Matteo Garrone’s Dogman, a deceptively simple story of a professional dogsitter’s attempt to achieve recognition among gangsters in a small Italian town, reminds me of the great “art-house” films I watched when I was a teenager: The Magician, La Strada, Bicycle Thief, Black Orpheus.
A spare story grows and builds and pushes itself until it swells to the bursting point and then: suspension.
Viewers are forced to meditate on what they have watched, as all of the mini-scenarios that have built it gain their own weight.
Marcello (Marcello Fonte) is friends with Simoncino (Edoardo Pesce), a small-time crook; Marcello is […]
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