-Written by Kyle Bain.
2024 RAINDANCE FILM FESTIVAL REVIEW!
At an all-inclusive resort in Greece, a group of staff members prepares for tourist season. As the season ramps up, as the workload increases, as the difficulties of the profession become too much to handle, Kalia (Dimitra Vlagopoulou), the group’s leader, struggles with her role and the often thankless nature of her profession. Animal is Kalia’s story, and as things become more intense at the resort, she must determine what is more important: her job or her well being.
I saw the term “parallel reality” used in regard to Animal, and I think that it beautifully sums up what this film is meant to depict. The reality is that many of us will only experience one side of the type of resort depicted in Animal (or really any tourist/hospitality location for that matter), the side of the guest. We see the glitz and the glamor, we see the beauty that exists on the outside, but Animal spends nearly two hours attempting to express to viewers the other side of things. While we, the tourists, enjoy every minute of our vacation, the employees are forced to wait on us, lose sleep, struggle emotionally, and more–and that seems to be the reason why this film exists. We see our reality run parallel to those employees throughout the film, understanding, maybe for the first time, the intensity of their job. From time to time we are able to connect with the characters emotionally; though (while I believe this is an interesting and commendable concept), it’s not executed as gracefully as Writer-Director Sofia Exarchou might have hoped.
Again, while I believe that the story told in Animal is warranted, Exarchou and Director of Photography Monika Lenczewska struggle to bring the story to life in an effective manner. I can understand that the camera always moving could be meant to represent that same sentiment in the characters, but never allowing the camera to settle or focus hinders viewers’ experience. We never truly have the opportunity to hone in on a character or group of characters, as we constantly have to stabilize the camera in our minds in order to remain focused.
Similar to the decisions made regarding the cinematography, the lighting choices make sense on paper–but they don’t translate well to the screen. The darkness that looms throughout the course of the film and in each of the characters is made visible by the constant use of low light. Animal, however, becomes challenging to watch because of how dark the film is. Like a dense fog, the low lighting remains ever present throughout Animal, and, paired with the shaky camera work, it becomes almost impossible to determine what exactly is taking place on many occasions.
Animal ultimately struggles as a result of Exarchou’s decisions as a director. She takes things too far, possibly in the attempt to be more artistic or to use these techniques to create a bond between characters and viewers–but they go too far nonetheless. The parallel narrative of Animal is brilliant, and possibly the best way to show both sides of Kalia’s reality. Though, Animal ultimately leads nowhere, and on the journey it becomes increasingly difficult to connect with characters as a result of the cinematography and lighting. While Animal may have been born of a thrilling and complex idea–it ultimately blossoms into very little.
Written & Directed by Sofia Exarchou.
Starring Dimitra Vlagopoulou, Flomaria Papadaki, Ahilleas Hariskos, Voodoo Jürgens, etc.
4.5/10 = WORTH WATCHING, BUT YOU’VE BEEN WARNED
