Give an animal a name, and it becomes a lot more difficult to send it to the glue factory. But people don’t stop using paste simply because they’ve made an equine friend. Named for the animal it fo…
Give an animal a name, and it becomes a lot more difficult to send it to the glue factory. But people don’t stop using paste simply because they’ve made an equine friend. Named for the animal it follows from owner to owner, through various hardships and across national borders, “” is a damning polemic on our relationship to other intelligent species — as free labor, food and companions — as seen through the dewy, wide eyes of a donkey whom we come to adore.
While “EO” is not a direct remake, it’s certainly more than homage. Bresson’s film was, among other things, a rejection of on-screen sentimentality. Five minutes in, the child who gave Balthazar his name dies, after which, the donkey repeatedly changes owners, an anonymous possession to whom only the audience seemed particularly attached.
Unlike Bresson’s film, which begins at birth, the donkey is full-grown at the outset and already has a name, EO, flashed on screen amid the strobe lights of a traveling circus performance. EO is well looked after here — and downright adored by Kasandra , the Polish dancer who performs alongside him in the ring. She caresses his mane and plants kisses in his beard, feeding him carrot muffins on special occasions.
This logistical complication bears mentioning since Skolimowski and company clearly made the film with live donkeys — six of them, to be precise — and while the crew took great care to respect the animals, one day such a movie may not be permitted at all. For now, no convincing equivalent for real animals exists, and movies with virtual substitutes feel increasingly like live-action cartoons.
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