I watched EO and I didn’t like it. 2/5
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Jerzy Skolimowski’s “EO” (2022) emerges as a Polish drama that invites viewers into the world of a donkey named EO, tracing his odyssey from a Polish circus to an Italian slaughterhouse. Along the way, EO encounters a diverse array of characters, from a compassionate animal rights activist to a ruthless horse trader and a group of Italian poachers.
The film’s cinematography, helmed by Pawel Edelman, stands out as a beacon of excellence. Collaborating with Skolimowski on multiple previous projects, Edelman crafts a visually arresting experience. Shot from EO’s unique perspective, the film grants audiences an unparalleled view of the world. Edelman’s adept use of camera techniques, such as slow motion and evocative close-ups, beautifully encapsulates EO’s emotional journey.
The performances within “EO” are a testament to the power of genuine connection. Balaam, the real-life donkey portraying EO, delivers a truly extraordinary performance. Through subtle gestures and nuanced expressions, Balaam allows audiences to empathize with EO’s experiences. The human cast, featuring Sandra Drzymalska, Lorenzo Zurzolo, and Mateusz Kościukiewicz, complements Balaam’s remarkable portrayal with equally memorable performances.
The film’s unflinching portrayal of animal cruelty stands as a stark and essential facet. “EO” does not shy away from depicting the harsh realities that animals face, challenging viewers to confront uncomfortable truths. This unapologetic depiction serves as a poignant reminder of humanity’s often contradictory relationship with the animal kingdom.
However, “EO” is not without its challenges. The film’s deliberate pacing, though artistically purposeful, may prove demanding for some viewers. With a runtime exceeding two hours, the film’s lingering shots, while visually captivating, may test the patience of those seeking a more dynamic narrative.
Additionally, the film’s near absence of dialogue presents a unique cinematic choice. While contributing to the immersive experience, it may pose a barrier to narrative accessibility, making it more challenging for some viewers to fully engage with the characters and plot.
In summation, “EO” is a masterful cinematic achievement, marked by breathtaking cinematography, outstanding performances, and an unflinching examination of animal welfare. Yet, its deliberate pacing and minimal dialogue may pose challenges for a portion of the audience.