and many others) that’s always dabbled in experimentation, but perhaps never quite so much as this time. Working with co-writer and producer Ewa Paiskowska, he eschews a conventional plot to make something that sits between fiction and non-fiction, nature documentary and avant-garde mood piece. If there’s any message behind, it’s that animals — donkeys especially — are still treated with plenty of brutality, whereas they are what make our world beautiful.
In that opening, Skolimowski seems to be underlining to what extent humans can never fully know what’s best for animals, even if they think they do. It’s a motif present throughout the film as EO is passed from one set of hands to another, all the while longing to be reunited with Kasandra. Both moods are combined in what’s perhaps the film’s longest vignette, when EO shows up at a regional Polish soccer game and winds up playing a hand in the local team’s victory. After, they bring him to a bar to celebrate, only to be attacked by hooligans from the other team who not only beat up all the fans and players, but EO as well.
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