Despite the development of a vast canon since the creation of motion pictures. Not many live-action fiction films tell stories through the eyes of an animal. It can be difficult for an audience to connect with a story in which the main character does not speak. or does not use facial expressions to show or communicate emotion. Even more so when the dialogue in the film is in Polish and Italian, but this year’s Polish Academy Award selection really breaks the mold.
The story of “EO” is an eclectic
The story of “EO” is an eclectic one. The film follows a donkey, the title character Eo, who is drawn from his life as a circus performer and estranged from his owner, Kassandra Sandra Drzymalska. EO travels across Europe and meets a collection of unique personalities and characters, some nice to EO, some not so much. The film largely functions as an anthology, depicting the stories of many different people along the way to EO. But there is a high degree of focus on the moments in between, such as EO walking through the countryside.
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Among the anthropological moments observed by EO during
Co-writer and director Jerzy Skolimowski skillfully uses discreet scenes. And on reflection let’s dwell on EO’s journey as a building block, to set up a really impactful story. Skolimovsky’s fierce command of the ever-changing moods amid the anthropomorphic moments EO witnesses during his travels is an impressive feat. Especially when it is framed through the eyes of an animal. Between the final shot and the credits, Skolimowski asked the audience to reflect on the treatment of animals within the film and in real life. Questioning whether these creatures get the respect and care they need to thrive.
Skolimovsky and his co-writer Ewa Piaskowska view
Skolimovsky and his co-writer Ewa Piaskowska with the exception of Eo’s appearance in the scene. Let’s not attempt to create a narrative throughline with this story. Skolyomsky with cinematographer Michal Dymek in most of its form. Despite using only a few POV shots, the characters are able to immerse the audience in the world of EO, even with the camera. All immersive textures enriching the viewer’s understanding of this brave new world EO has to face. The film uses a number of different composite shots to clue the viewer into the points of view.
Other formal elements of the film are also worth noting.
Other formal elements of the film are also worth noting. The editing is precise and provides an effortless rhythm that allows the viewer to quickly fall into the contemplative rhythm of the film. Each “episode” offers a similar structure that becomes almost expected by the end. And Pawel Mykietyn’s score is an incredible piece of composition in its own right as well, with several tracks deserving of multiple listens. Mykietyn strikes an impressive balance between the discordant feeling of the film and the innate beauty in the image. And the tune of the film will stick with the audience well beyond the end of the film.
A call to protect the wildlife that human industry
While this film is certainly not for everyone, it is imbued with empathy, passion, and care for the natural world. It’s a film worth watching for its formal elements alone, but Skolyomsky strikes the right balance between sadness and hope. And telling the audience through a lead who can’t speak is the most impressive achievement of this film. EO” is one of the most haunting and beautiful films in recent memory. The violence against the animals within the film ultimately becomes the basis of Skolyomsky’s call to action. This a call to protect the wildlife that has been greatly harmed by human industry and negligence. The damage is done.
