Dogtooth (film)
Dogtooth (Greek: Κυνόδοντας; Kynodontas) is a 2009 Greek absurdist psychological drama film directed by Yorgos Lanthimos. Written by Lanthimos and Efthymis Filippou, the film is about a husband and wife (Christos Stergioglou and Michelle Valley) who keep their children (Angeliki Papoulia, Christos Passalis, and Mary Tsoni) ignorant of the world outside their property well into adulthood.
| Dogtooth | |
|---|---|
Theatrical release poster | |
| Directed by | Yorgos Lanthimos |
| Written by |
|
| Produced by |
|
| Starring |
|
| Cinematography | Thimios Bakatakis |
| Edited by | Yorgos Mavropsaridis |
Production company | Boo Productions |
| Distributed by | Feelgood Entertainment |
Release dates |
|
Running time | 97 minutes[1] |
| Country | Greece |
| Language | Greek |
| Budget | €250,000[2] |
| Box office | $1.4 million[3] |
Dogtooth is Lanthimos's third feature film. It won the Prix Un Certain Regard at the 2009 Cannes Film Festival and was nominated for Best Foreign Language Film at the 83rd Academy Awards.
Plot edit
A couple live in a fenced-in compound with their adult son and two adult daughters. The children have no knowledge of the outside world; their parents say they will be ready to leave once they lose a dogtooth, and that one can only leave safely by car. The children entertain themselves with endurance games, such as keeping a finger in hot water. They believe they have a brother on the other side of the fence to whom they throw supplies or stones. The parents reward good behavior with stickers and punish bad behavior with violence.
The father pays a security guard at his factory, Christina, to come to the house and have sex with his son. Frustrated by the boy's refusal to give her cunnilingus, Christina trades her headband with the elder daughter in exchange for oral sex from her. The elder daughter persuades the younger daughter to lick her shoulder by bartering the headband. Later, the younger daughter volunteers to lick the elder again. The elder has nothing to offer in exchange, but the younger does not mind and experiments by licking other body parts.
The father visits a dog-training facility and demands to have his dog returned. The trainer refuses because the dog has not finished its training, and asks: "Do we want an animal or a friend?"
When the children are terrified by a stray cat in the garden, the son kills it with a pair of pruning shears. Deciding to take advantage of the incident, the father shreds his clothes, covers himself in fake blood, and tells his children that their unseen brother was killed by a cat, the most dangerous creature. After he teaches them to bark on all fours to fend off cats, the family holds a memorial service for the brother.
Christina again barters for oral sex from the elder daughter. The daughter rejects her offer of hair gel and demands the Hollywood videotapes in her bag. She watches the films in secret and afterward recreates scenes and quotes their dialogue. When the father discovers the tapes, he beats her with one of them, then goes to Christina's flat and hits her with her VCR, cursing her future children to be corrupted by "bad influences".
The parents decide that, with Christina no longer available, they will have their son choose one of his sisters as a new sexual partner. After fondling both sisters with his eyes closed, he chooses the elder. Later he attempts to have sex with her despite her discomfort, sexually assaulting her. She then afterwards recites threatening dialogue from a Hollywood film to her brother.
During a dance performance for the parents' wedding anniversary, the younger daughter stops to rest, but the elder continues, performing the choreography from the film Flashdance (1983), disturbing her parents. That night, she knocks out one of her dogteeth with a dumbbell and hides in the boot of her father's car. The father discovers her tooth fragments and searches for her fruitlessly. He drives to work the next day; the car sits outside the factory, unattended.
Cast edit
- Christos Stergioglou as Father
- Michelle Valley as Mother
- Angeliki Papoulia as Older Daughter
- Christos Passalis as Son
- Mary Tsoni as Younger Daughter
- Anna Kalaitzidou as Christina
- Steve Krikris as Father's co-worker
- Athanasia Petropoulou as Father's secretary
- Alexander Voulgaris as the dog trainer
Production edit
Dogtooth was the feature film début for Boo Productions, an Athens-based advertising company. The Greek Film Center supported the project with about €200,000 and much of the production was done with help from volunteers.[4] Another €50,000 was offered by the production studio, bringing the overall budget to €250,000.[2] Anna Kalaitzidou and Christos Passalis were stage actors who were cast after having worked with Lanthimos earlier. Mary Tsoni was not a professional actress, but a singer in a punk band.[5] Lanthimos had an open approach to both acting and visual style and felt it would look fake if he involved himself too much in the details. Only when rehearsals started did he begin to develop an idea of the style in which the film should be shot: one where he tried to combine a realistic environment with "really strict framing and a cool, surreal look to go with the narrative".[6]
Release edit
The film premiered on 18 May 2009 at the Cannes Film Festival,[7] and went on to screen at festivals such as Toronto and Maryland. It was released in Greece on 11 November 2009 through Feelgood Entertainment.[8][9] Verve Pictures picked up the British distribution rights and launched it on 23 April 2010.[6] The American premiere was on 25 June 2010, managed by Kino International.[10]
Reception edit
Greek critic Dimitris Danikas gave Dogtooth a rating of eight out of ten ("with enthusiasm"), calling it "black, surreal, nightmarish" and writing that Dogtooth is as important for Greek cinema as Theodoros Angelopoulos's 1970 film Reconstitution.[11] Danikas added, "Lanthimos composes and goes from one level to another like a wildcat-creator, constantly and continuously maintaining the same rigorous style. Hence the aphasia; hence the uniformity; hence the submission and the scheduled mass culture; hence also the serial killer; hence, however, the disobedience, the anarchy. As I said at the beginning: Dogtooth has the surrealism of Buñuel, the scalpel of Haneke, the underground horror of a thriller without the splatter. Perfect."[11] Danikas characterized Dogtooth's Academy Award nomination as "the greatest Greek triumph of recent years."[12] Columnist Dimitris Bouras, writing for Kathimerini, mentioned "the beneficial effects that the prestigious award could have" and wrote that the nomination reveals three interesting facts: "1) in Greece we need to be extroverts (and not only in cinema), 2) exportable product is whatever has an identity, 3) Dogtooth's nomination is like an investment – manna from the heaven of Hollywood for the developing Greek cinema."[13]
International edit
On review aggregator website Rotten Tomatoes, the film has a 93% approval rating based on review from 70 critics, with an average score of 7.70/10; the site's "critics consensus" reads: "It'll be too disturbing – and meandering – for some, but Dogtooth is as disturbing and startlingly original as modern filmmaking gets".[14] On Metacritic, the film has a weighted average score of 73 out of 100 based on 17 critics, indicating "generally favorable reviews".[15]
Alistair Harkness of The Scotsman hailed Lanthimos as "a bold new voice on the world cinema scene, someone who might soon be elevated to a similar position as those twin pillars of Euro provocation: Lars von Trier and Michael Haneke", but added that the film is "not... designed simply to shock in the way von Trier's work often does,... nor does it have that annoyingly prescriptive, punitive air of superiority favoured by Haneke's films."[16]
Peter Bradshaw of The Guardian praised the filmmaking, finding Dogtooth "superbly shot, with some deadpan, elegant compositions, and intentionally skewiff framings".[17] Roger Ebert of the Chicago Sun-Times gave the film three out of four stars, noting the director's "complete command of visuals and performances. His cinematography is like a series of family photographs of a family with something wrong with it. His dialogue sounds composed entirely of sentences memorized from tourist phrase books."[18] Mark Olsen of the Los Angeles Times wrote that "All of the film's purposeful weirdness is conveyed with an unaffected simplicity that recalls the dead-aim haphazard compositions of photographer William Eggleston", concluding that, "as a film, it's pure and singular, but it's not quite fully formed enough to be what one could call truly visionary."[19]
A. O. Scott of The New York Times wrote that the film "at times seems as much an exercise in perversity as an examination of it", and that "The static wide-screen compositions are beautiful and strange, with the heads and limbs of the characters frequently cropped. The light is gauzy and diffuse, helping to produce an atmosphere that is insistently and not always unpleasantly dreamlike. You might think of paintings by Balthus or maybe Alex Katz, though the implied stories in those pictures are more genuinely evocative and haunting than the actual narrative of Dogtooth."[20]
Several reviewers, such as Harkness and Bradshaw, made comparisons to the 2008 Fritzl case, although they noted that the screenplay was written before the case emerged.[16][17] Scott, like Ebert, made references to homeschooling.[18][20] Resemblances have been noted to the 1972 Mexican film The Castle of Purity.[21][22]
The film's larger meaning eluded easy expression. Scott called the film "a conversation piece. Though the conversation may... be more along the lines of: 'What was that?' 'I don't know. Weird.' 'Yeah.' [shudder]. 'Weird.'"[20] Olsen saw Dogtooth's substance as "part enigma, part allegory and even part sci-fi in its creation of a completely alternate reality."[19] Ebert found a "message" in the film, which he put as: "God help children whose parents insanely demand unquestioning obedience to their deranged standards.... [S]ome have even described the film as a comedy. I wasn't laughing."[18] For Bradshaw, the film investigates "the essential strangeness of something society insists is the benchmark of normality: the family, a walled city state with its own autocratic rule and untellable secrets."[17] Harkness noted the "absolute mockery the situation makes of the perfect family ideal", where "Lanthimos isn't interested in making specific political or social points and he refuses to offer any clarifying backstory", and found Dogtooth's oddness "as organic and playful as its impact is incisor sharp."[16]
In a 2012 interview, filmmaker David Lynch called Dogtooth "a fantastic comedy".[23]
Accolades edit
Greek Prime Minister George Papandreou ended the Cabinet meeting on 25 January 2011 by saying: "The news that the film Dogtooth by Yorgos Lanthimos is nominated for Best Foreign Language Film goes far beyond the world of cinema, arts and culture. It concerns the whole country, its people, the new generation of artists who follow the motto 'Yes, we can do it' during difficult times."[24] He continued, "I won't say that the news shows that miracles happen, because the success of Yorgos Lanthimos is based on hard work, talent and his endless potential. Features that characterize the creative forces which lead Greece to a new era; forces which deserve our support and they will have it. Bravo Yorgos."[24]
The Greek Film Committee unanimously chose Dogtooth to represent Greece at the Oscars.[25]
| Event | Category | Nominee | Result |
|---|---|---|---|
| Academy Awards | Best Foreign Language Film[26][27][28] | Yorgos Lanthimos | Nominated |
| British Independent Film Awards | Best Foreign Film[29][30] | Nominated | |
| Cannes Film Festival | Prix Un Certain Regard[31][32] | Won | |
| Prix de la Jeunesse[31] | Won | ||
| Dublin International Film Festival | Dublin Film Critics Award[33] | Won | |
| Estoril Film Festival | Grande Premio[34] | Won | |
| Hellenic Film Academy Awards | Best Feature Film[35][36] | Won | |
| Best Director[35] | Won | ||
| Best Screenplay[35] | Yorgos Lanthimos and Efthymis Filippou | Won | |
| Best Actress[35] | Angeliki Papoulia | Nominated | |
| Best Actor[35] | Christos Sterioglou | Nominated | |
| Best Supporting Actor[35] | Christos Passalis | Won | |
| Best Post-Production[35] | Yorgos Mavropsaridis | Won | |
| Award for Special Effects and Film Innovation[35] | George and Roulis Alahouzos | Nominated | |
| Ljubljana International Film Festival | Kingfisher Award[37][38] | Yorgos Lanthimos | Won |
| Mar del Plata Film Festival | Best Film | Nominated | |
| Montréal Festival of New Cinema | Feature Film Award[39] | Won | |
| RiverRun International Film Festival | Best Director[40] | Won | |
| Sarajevo Film Festival | Special Jury Prize[41] | Won | |
| Heart of Sarajevo (Best Actress) | Angeliki Papoulia and Mary Tsoni | Won | |
| Sitges Film Festival | Best Motion Picture Fantastic Award | Yorgos Lanthimos | Won |
| Citizen Kane Award for Best Directorial Revelation[42] | Won | ||
| Best Film | Nominated | ||
| Stockholm International Film Festival | Bronze Horse[43] | Won |
Potential influences edit
In 1970, Mexican filmmaker Arturo Ripstein made a very similar film, The Castle of Purity, in which a man keeps his family isolated, the brother and sister have an unusually close connection, and the sister is the one to break the impasse with the outside world. According to Ripstein, his film was based on a story that appeared in newspapers in the 1950s about a man who isolated his family and did not allow them to leave, saying that "There was a lot of talk about the case when I was a little boy."[44] The case inspired two works: La Carcajada del Gato, a novel by Luis Spota, and Los Motivos del Lobo, a play by Sergio Galindo. Actress Dolores del Río was interested in the rights to the play, and contacted Luis Buñuel to direct. He declined, but recommended his protege, Ripstein, who said: "Dolores del Río called and said, 'I would like to make an adaptation of the play', and I said, 'I would prefer to go directly to the source and take the case from the newspapers'."[44]
See also edit
References edit
- ^ "Dogtooth (18)". British Board of Film Classification. 8 January 2010. from the original on 21 January 2015. Retrieved 5 December 2012.
- ^ a b Rapold, Nicolas (24 June 2010). "From Greece, a Parable About ... Something". The New York Times. from the original on 3 May 2019. Retrieved 24 June 2010.
- ^ Dogtooth at Box Office Mojo
- ^ Katsareas, Eftehia (3 December 2009). "The surprising Greek film winning fans abroad". cnn.com. CNN. from the original on 17 March 2010. Retrieved 8 May 2010.
- ^ Eyles, Priscilla (26 April 2010). . Sound Screen via Internet Archive. Archived from the original on 6 July 2010. Retrieved 5 March 2016.
- ^ a b Jahn, Pamela (5 April 2010). "Dogtooth: Interview with Yorgos Lanthimos". Electric Sheep Magazine. from the original on 25 April 2010. Retrieved 8 May 2010.
- ^ (PDF). Cannes Film Festival. festival-cannes.com. Archived from the original (PDF) on 7 August 2011. Retrieved 23 May 2009.
- ^ "Film profile: Dogtooth". Cineuropa. from the original on 18 January 2012. Retrieved 26 January 2011.
- ^ Proimakis, Joseph (2 September 2010). "Interview with Irini Souganidou • Distributor, Feelgood Entertainment". Cineuropa. Archived from the original on 13 July 2012. Retrieved 26 January 2011.
- ^ "Dogtooth". indieWire. from the original on 28 January 2011. Retrieved 26 January 2011.
- ^ a b Danikas, Dimitris (22 October 2009). . TA NEA Online. Archived from the original on 9 March 2012. Retrieved 31 January 2011.
- ^ Danikas, Dimitris (26 January 2011). . TA NEA Online. Archived from the original on 29 January 2011. Retrieved 31 January 2011.
- ^ Bouras, Dimitris (31 January 2011). . Kathimerini. Archived from the original on 2 February 2012. Retrieved 31 January 2011.
- ^ "Dogtooth (Kynodontas) (2010)". Rotten Tomatoes. Fandango Media. from the original on 27 November 2017. Retrieved 17 October 2020.
- ^ "Dogtooth Reviews". Metacritic. CBS Interactive. from the original on 7 April 2018. Retrieved 23 April 2018.
- ^ a b c Harkness, Alistair (24 April 2010). "Film Review: Dogtooth". The Scotsman. Edinburgh. from the original on 17 February 2024. Retrieved 26 January 2011.
- ^ a b c Bradshaw, Peter (22 April 2010). "Dogtooth". The Guardian. London. from the original on 5 February 2015. Retrieved 26 January 2011.
- ^ a b c Ebert, Roger (7 July 2010). "Dogtooth". Chicago Sun-Times. from the original on 24 February 2011. Retrieved 26 January 2011.
- ^ a b Olsen, Mark (7 January 2011). "Movie review: 'Dogtooth'". Los Angeles Times. from the original on 21 January 2011. Retrieved 26 January 2011.
- ^ a b c Scott, A. O. (25 June 2010). "A Sanctuary and a Prison". The New York Times. from the original on 24 February 2011. Retrieved 26 January 2011.
- ^ "Movie Marker Dogtooth". from the original on 21 April 2014. Retrieved 7 May 2013.
- ^ "The AV Club Dogtooth". The A.V. Club. 25 June 2010. from the original on 6 August 2013. Retrieved 7 May 2013.
- ^ Zeitchik, Steven (22 June 2012). "David Lynch says he doesn't have any ideas for a new film". from the original on 4 March 2020. Retrieved 11 March 2018 – via Los Angeles Times.
- ^ a b Zoumboulakis, Yannis (26 January 2011). . TO BHMA Online. Archived from the original on 30 January 2011. Retrieved 31 January 2011.
- ^ "Η ταινία "Κυνόδοντας" πηγαίνει στα Oσκαρ". enet.gr. from the original on 7 March 2012. Retrieved 27 January 2011.
- ^ "Greece Submits "Dogtooth" for Foreign Language Film Entry @ Academy Awards". Greek Reporter Hollywood. 27 September 2010. from the original on 18 July 2013. Retrieved 28 September 2010.
- ^ "Beautiful but doomed: Greece submits 'Dogtooth' for Oscars". incontention.com. from the original on 17 February 2024. Retrieved 28 September 2010.
- ^ "The 83rd Academy Awards | 2011". Oscars.org | Academy of Motion Picture Arts and Sciences. from the original on 5 June 2011. Retrieved 30 September 2017.
- ^ . bifa.org. Archived from the original on 4 November 2010. Retrieved 21 November 2010.
- ^ . bifa.org. Archived from the original on 9 December 2010. Retrieved 6 December 2010.
- ^ a b "Un Certain Regard Awards Ceremony". Cannes Film Festival. festival-cannes.com. 23 May 2009. Retrieved 23 May 2009.[permanent dead link]
- ^ "PALMARES DU PRIX DE LA JEUNESSE AU FESTIVAL DE CANNES". jeunesse-vie-associative.gouv.fr. Retrieved 2 February 2011.[permanent dead link]
- ^ . irishtimes. 3 March 2010. Archived from the original on 13 August 2011. Retrieved 7 May 2010.
- ^ . Estoril Film Festival. estoril-filmfestival.com. Archived from the original on 1 March 2010. Retrieved 7 May 2010.
- ^ a b c d e f g h "Greek Oscars were given away!". grreporter. from the original on 18 August 2012. Retrieved 7 May 2010.
- ^ "Night of Greek Oscars is coming!". grreporter. from the original on 18 August 2012. Retrieved 7 May 2010.
- ^ . Athens News. Archived from the original on 6 March 2012. Retrieved 2 February 2011.
- ^ (PDF). Ljubljana International Film Festival. liffe.si. Archived from the original (PDF) on 15 August 2011. Retrieved 2 February 2011.
- ^ "Dogtooth hooks Split". cineuropa.org. from the original on 31 December 2013. Retrieved 27 January 2011.
- ^ "2010 RiverRun Award Winners". riverrunfilm. from the original on 15 July 2011. Retrieved 7 May 2010.
- ^ "15th SARAJEVO FILM FESTIVAL awards". Sarajevo Film Festival. from the original on 27 October 2016. Retrieved 9 May 2015.
- ^ "Dogtooth: Sitges Film Festival". Sitges Film Festival. sitgesfilmfestival.com. from the original on 16 July 2011. Retrieved 7 May 2010.
- ^ . Stockholm International Film Festival. stockholmfilmfestival.se. Archived from the original on 29 March 2016. Retrieved 7 May 2010.
- ^ a b "Arturo Ripstein Visual History - PST LA LA". pstlala.oscars.org. from the original on 4 October 2020. Retrieved 23 November 2020.
External links edit
- Official website[dead link]
- Dogtooth at AllMovie
- Dogtooth at Box Office Mojo
- Dogtooth at IMDb
- Dogtooth at Metacritic
- Dogtooth at Rotten Tomatoes