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A young man roams the forest, naked but unafraid, growling on all fours as he moves through it. He has the demeanor of a beast. His instincts are manifesting themselves in this way, and he does not consider it to be a staged performance. Wolf is an offbeat drama directed by Nathalie Biancheri about a group of teenagers who are convinced that their frail human bodies do not correspond to the animal identities they have taken on. Their condition, which is referred to as “species dysphoria,” causes them to be shunned by society.
For Jacob (George MacKay), the wolf in question, being admitted into a facility where those who are afflicted receive corrective treatment is the final frontier between fulfilling his parents’ wish for normalcy and allowing himself to run wild without remorse, as well as the only way to save his life.
Among those Jacob meets are Rufus (Fionn O’Shea), who considers himself a lovable German Shepherd, and Wildcat (Lily-Rose Depp), who has been house-trained for a long time and is under the control of a key member of staff. Some of them have a difficult time adjusting and are granted “prop privileges,” which allow them to dress in costumes that are closer to their desired form. Despite what it entails, the setup is never used for comic relief, but rather for serious purposes. Their desperation is tinged with a deep sense of loss.
However, despite the fact that writer/director Biancheri injects a plethora of ideas into this concept, the solemn tone and lack of a clear thematic focus make the overwrought production underwhelming. Yorgos Lanthimos’ acidity would have made a premise like this much more effective, as the film would have unfolded as satirical commentary rather than straightforward indignation, rather than a straightforward expression of outrage.
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Still, as it stands, her direction of a cast that goes along with the quasi-bizarre premise without becoming caricatured is a noteworthy accomplishment. An uneasy feeling arises from watching the ensemble’s slavish devotion to animal conducts and sounds, which comes at the expense of their characters’ mental health in this harsh environment.
Jacob’s most compelling asset is MacKay, who gives his all to the role and convinces us that he has no doubts about his most fulfilling state through his feral physicality. And when he is finally in the presence of a real wolf, he appears to be at ease. The howling of the two of them sparks a fleeting sense of recognition in each other. Despite the haphazard nature of the plot, MacKay’s unmannered raw performance manages to maintain our tested attention.
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MacKay looks at his companions in agony with a conflicted expression, half compassion, half pity in his eyes. He maintains a stoic demeanor almost all of the time. Jacob makes a sincere effort to change for the sake of his bipedal family, but as the torment intensifies, the less he is able to contain his truth—which he has been feeling since he was a child.
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Michal Dymek’s cinematography is most in sync with the content of the film during his romance with Wildcat, who is played competently by Depp as someone who blatantly pretends to suffer from the same ills as the others in order to belong. Wolf and Wildcat gnaw at each other with playful aggression as the fluid shots capture the spontaneity of their movement, changing in speed and closeness as they do so.”
Conveniently, none of the creatures that these children choose to impersonate are farm animals raised for food production for humans. There aren’t any cows, chickens, or pigs among them. Rather, only pets, wild animals, and a horse make up the majority of the main cast. Because the film is attempting to draw parallels between this fictional world and oppressive conventions that are applicable to issues that are more relevant to our common reality, considering modern humans’ carnivore tendencies in relation to these adolescents appears to be an obvious entry point into speciesism in the film.
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Throughout Biancheri’s “Wolf,” mankind’s conviction in its own superiority over all other creatures is the most obvious source of concern. When a zookeeper (Paddy Considine), ruler of this domain of brutality, uses phrases alluding to that internalized grandeur, he begs us to recognize that what he claims is incorrect. Late in the story, he asserts his leadership position in the manner of a lion in a jungle, alluding to his own savage inclinations in the process.
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In the film “Wolf,” there are scenes in which the antagonist forces the teenagers to recognize their humanity by making them aware of their inability to perform activities that their animal counterpart would naturally be able to perform. During one scene, one of the guys breaks his nail while trying to climb a tree in the manner of a squirrel, and a young woman in full parrot attire is asked to jump off a window and fly until she breaks down and admits to being a young girl. These traumatic outcomes demonstrate that they are all aware of their current situation.
But, with the exception of Jacob, is it a performance for all of them? If that’s the case, does the film imply that not everyone who claims to have been born in the wrong body should be taken seriously? With all of the conundrums that have been introduced, the most important question remains the most basic: what is Biancheri attempting to communicate? Is it making comparisons between these situations and conversion therapy camps or the treatment of transgender individuals? If this is the case, the allegory appears to be hazy at best.
The film is currently showing in theaters.
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