Directed by the 84-year-old Polish auteur with a rock ‘n’ roll punk attitude,follows a donkey on a solo, sparse odyssey as he escapes scrapes, lands in sci-fi scenarios, and proves the medium has been wasting its time with human protagonists.
Our introduction to EO is in a circus where the four-legged individual is personally fed carrots by a young female dancer.
Often, the viewer perceives the world through EO’s eyes. After some failed experiments with GoPro and different lenses, Skolimowski turned to an editorial pattern: a master shot, a close-up of the donkey’s eyes, and then a slow-moving camera to signify the perspective of an animal standing still. “It’s exactly the same set but the POV looks different from the master shot,” Skolimowski explains.
Skolimowski immediately shoots down all these ideas. “The robot is a warning to people,” Skolimowski says. “What’s next? If we don’t take care of real, living animals, then we’ll be left with robots pretending to be animals. Don’t we prefer the real expression of the eyes, the grace of animals who move?” The director animatedly imitates a donkey for me. “It’s a warning!” But, I note, the robot donkey looks like a miraculous piece of technology and, if you live in a city, probably a fun toy.
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