January 25, 2011 by Post Team 

Dogtooth, The 20 three children – two daughters (Mary and Aggeliki Papoulia Tsoni) and son (Hristos Passalis) – have no names, but have blind enthusiasm for the way they have been conditioned to live. Nobody blinks an eye when the mother announces that she will give birth to a baby, maybe two, and a dog. Why would not she?

“Dogtooth”plantes a foot in both worlds surreal and banal, with unpredictable behavior occurs in a context of apparent domestic placidity. At some point, we get used to strange rites that populate this household – even at their most cruel and bizarre, with sudden bursts of violence disrupts the normal manufactured. Thimios Bakatakis frames of each photograph rigid static action against the bare walls mostly from home, lull us into a false sense of security similar to what the father and mother must get so carefully control the lives of their children.

But the illusion is bound to disintegrate, and the father he brings upon himself by introducing Christina (Anna Kalaitzidou), a security guard to satisfy his sexual desires of the son in the family. Sex scenes in the film are without blinking uncomfortable with the sex itself conducted a series of passionate, stiff motions.

For the son, which seems to be enough, but Christina pushes her influence beyond her girls, and sexual behavior incongruous that the results (licking of body parts, erogenous or not) are just the beginning. VHS tapes find their way into the house, which leads to hilarious attempts incorrectly cite Rocky and Jaws, and culminating in a riveting scene, move from Jennifer Beals Flashdance. This sequence illustrates the remarkably broad range of problems that the universe closely monitored to identify these people, from the superficial (the effect of films) to the fundamental

S’√©croule”’Dogtooth a small world, the third feature from director Giorgos Lanthimos Greek, and a film that is filled with details both delightful and disturbing. A lot to do business (Christos Stergioglou) and his submissive wife (Michele Valley) create a home from another world for their three children are governed by arbitrary conceptions of law and language. Here the word “zombie”, a small flower, cats are predators and vicious world beyond the confines of the driveway is completely off-limits, including death.

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