Poland’s Oscar© 2023 Entry for Best International Feature: ‘Eo’ directed by Jerzy Skolimowski
'Eo' is the first motion picture to turn the spotlight onto the plight of animals as victims of persecution going as far as setting up an analogy to the genocide of the Jewish people.
Twice this is alluded to. First when Eo wanders into the woods and visits ancient gravestones which are marked by Hebrew letters. The second time is at the end after his endless odyssey on earth searching for the one who loved him most and lost him. “Like sheep to the slaughter” is a phase often associated with the Jews who were herded into conditions worse than those of animals, into boxcars and into gas chambers. So we see cattle herded into slaughter.
This is no Bambi. No Disneyification for this Burro. The animal is lovable and one senses its view of the outside world from its actions, one even senses its emotions.
The world is a mysterious place as seen through the eyes of an animal.
On his journey, EO, a gray donkey with melancholic eyes, meets good
and bad people, experiences joy and sorrow as the wheel of fortune at every turn transforms his luck into disaster and his despair into
unexpected happiness. But never, at any instant, does he lose his innocence.
The telling of Eo’s story is also particularly Polish featuring the woods of of Jerzy Kosinski’s novel and feature The Painted Bird, the woods of Polansky’s childhood and of countless others who as as children, women and partisans during the war took to the woods as a means of escape. But here the victim has no voice and humans are only the willing and unwilling accessories to his plight as he tries to avoid the pitfalls of the world.
And we feel deeply for Eo who never says a word. What is the magic Skolimowski employs to make this movie so moving?
This is the first movie that the 84-year-old Polish director Jerzy Skolimowski has made in seven years.
His wish was to pay homage to the cinema of Robert Bresson who inspired him to write this modern tale, whose main character is a Sardinian donkey:
“Several decades ago, I said in an interview (I think it was Cahiers du Cinéma) that the only film that moved me to tears was Au Hasard Balthazar (1966). I think I discovered it right after it came out. Since then, I haven’t shed a single tear at the cinema. Thus, what I owe to Robert Bresson is to have acquired a strong conviction that making an animal a character in the film is not only possible, but can also be a source of emotion."
EO is a poetic work, a metaphorical vision of the world.
“I wanted above all to make an emotional film, to base the narration on emotions, much more than in all my previous films.”
During his career Jerzy Skolimowski has directed very great actors like Robert Duvall, or Jeremy Irons —” two of the most generous with whom I have worked, wonderful beings — but, directing a donkey on the screen, calls for any obviously other springs.”
“Directors use intellectual arguments to get actors the desired effect, use language to provoke their emotions. With my donkey, the only way to persuade him to do anything was tenderness: words whispered in his ear and a few friendly caresses. Raising your voice, showing impatience or nervousness would have been the shortest path to disaster.”
“In Poland we have an animal protection law. Everyone, including the donkeys, can work up to 8 hours on a set. When they shoot, we are responsible for them, they are our actors. We make sure that they do not feel stress during the shots, that they enjoy the work and the contact with the film crew. We also ensure their comfort throughout their presence on set. In this specific case, they were also under the permanent supervision of a veterinarian, which gave us additional assurance for their good health and well-being. During the preparations and during the realization, we ensured that the breaks and the night rest conditions were respected.”
Eo, in the words of NY Times review by Manohla Dargis, “adheres to the hero’s journey only to deviate drastically from that template. In short, EO sets off on an adventure, enters a realm of near-supernatural wonder, encounters fabulous and less so forces, experiences challenges and temptations (including a wreath of carrots). He also meets Isabelle Huppert in an Italian villa, though she ignores him. His journey is strange, absurd, exhilarating and terrifying.”
We pity the poor animal and in our pity we should recognize our own cruelty to animals as well as to other human beings who are treated like animals within our own society and in front of our own eyes.
Jerzy Skolimowski worked with Ewa Piaskowska on writing the screenplay, following a now well-established method: “Eo is the third screenplay we have written together. The method is simple: one of us has an idea (in the case of Eo, it was Ewa, in the case of Essential Killing, it was me), then we give ourselves a good session of brainstorming. Then it’s Ewa who takes care of most of the writing, with me making adjustments, whether it’s additions or cuts. We usually write in Polish, then it’s always Ewa who takes
in charge of the English translation.”
The Directors’ Fortnight has shown the films of Skolimowski starting in 1965 with Walkover, his second feature film, acclaimed for its innovative form. “At the time, a young American filmmaker came to congratulate me after the screening of Walkover, and although my English was limited at the time, we instantly became friends. It was Jack Nicholson, who was also discovering Cannes. Smoking a joint with him on the beach that night remains one of my fondest memories from Cannes.”
This is the seventh time in his career that Jerzy Skolimowski has been invited in Competition to Cannes. “Coming back is a bittersweet experience. Many people I have met at the Festival over the years are no longer of this world, others cannot come. I myself have become a bit of a recluse and I feel better in my house in the forest in the middle of nowhere. The world today does not inspire much optimism — a war is raging in Europe. It seems absurd to celebrate the premiere of a movie, with the tragedy unfolding every day in Ukraine.”
Despite its dramatic nature, Eo is also a film rich in funny moments. What makes Jerzy Skolimowski laugh? “I don’t think I’ve laughed heartily in a long time. But I do smile sometimes — especially at my dog, Bufon, for his playfulness, or for the way he tilts his head when he listens to men’s conversations, as if he doesn’t want miss a word.”
International sales agent, Hanway, was founded by Jeremy Thomas who announced his own retirement this year in Cannes. Skolimowski and Thomas have a long-standing relationship that began when Thomas produced his second film Le Cri, which won the Grand Jury Prize at Cannes in 1978. They also collaborated on Essential Killing, which won the Special Prize of the Jury and the Best Actor Prize at the Venice Film Festival, as well as 11 Minutes, also screened in Competition in Venice.
Says Skolimowski, “Jeremy is a production icon. It’s always been a real privilege to see how he thinks, what he prioritizes, how he makes decisions or works with directors. He is in a separate class.”
Jeremy Thomas was born into a film family — his father and uncle were directors. He started in film laboratories and graduated as an editor, working on many films and eventually editing Family Life by Ken Loach. In 1974, Thomas produced his first film, Mad Dog Morgan by Philippe Mora with Dennis Hopper, then founded Recorded Picture Company. Thomas then produced numerous personal films, including Investigaton of a Passion, Eureka and Insignificance by Nicolas Roeg, and Furyo by Nagisa Ôshima with David Bowie. He eventually founded Hanway as the nternational sales agent for his films.
Hanway and its distributors did not stint on giving the film plenty of festival exposure, a good way to create word of mouth actively as it rolls out theatrically. After debuting in Cannes where Skolimowski won the Jury Prize and the Best Composer Award went to Pawel Mykietyn, it went on to a list of festivals that reads like a a primer for filmmakers to try to follow themselves: Jerusalem, Hong Kong, Hungary’s Miskolc International Film Festival, Toronto, Gdynia, Vancouver, Hamburg, Busan, Rio, London, New York, Mill Valley, Hamptons, Grand Lyon in France, Bergen, Santa Fe, Cologne, Philadelphia, Valladolid, Montclair, Vienna, Geneva, Seville, AFI Fest, Hawaii, Belfast, Tallinn, Ljubljana, MoMa, Taipei’s Golden Horseshoe.
ISA Hanway has licensed the film to Sideshow for US (the new kid on the block who is working with Janus on the theatrical release as they did with Oscar Winner Drive My Car. Founded by longtime IFC President Jonathan Sehring and his acquisitions chief Jason Hellerstein, Sideshow is also distributing Cannes films The Eight Mountains, Tori and Lokita, and All That Breathes. Other distriutors include Films We Like for Canada, ARP Selection for France, Soda for Peru and Colombia, Nitrato for Portugal, Rapid Eye for Germany, Applause for Taiwan, DDDream for China, Fine Films for Japan, Front Row for MENA and Iran, Odeon for Greece and The Searchers for Belgium.
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SydneysBuzz by Sydney Levine is about the international film circuit, films from places far and near that you may not hear about often, like Cannes or the newly launched Red Sea Film Festival.
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