I’m guilty of not being a massive fan of films from an animal perspective or those dealing with animals. It’s a crude statement that stems from very simplistic reasoning. Animal cruelty and deaths on screen are some of the most gut-wrenching cinematic experiences I can encounter. More often than not, the uncontrollable waterfall that follow these screenings leave me stepping away from the sub-genre. However, exceptions create such intrigue that I step away from the norm and dive in head first. That was the case with Jerzy Skolimowski’s EO, a film that has built quite the following since its premiere back a the Cannes Film Festival.
With that following and being submitted as the Polish entry at the upcoming 95th Academy Awards, it became must see. While simplistic in its plot, EO is a profound and essential cinematic experience. Never heavy-handed, Jerzy Skolimowski gives a damning indictment of humans while emphasizing the innocence of animals. It’s inventive, horrific, and engaging, but most importantly, it’s a crucial cinematic viewing experience.
Inspired by 1966’s Au hasard Balthasar, EO follows a donkey of the same name. When first meeting EO, we are treated to moments of pure happiness as he works with a woman at a circus who shares a profound love for him. Unfortunately for EO, when animal protection arrives, EO is removed from the circus. This ultimately leads to an adventure across Europe where he encounters many different individuals, some good, some bad, but all affected in some form or another by the beloved donkey.
While the film is often subtle and quiet, Jerzy Skolimowski’s direction never stems away from keeping cinephiles engaged. Thanks to Paweł Mykietyn’s haunting score and Michał Dymek’s stunning cinematography, the film vibes like a horror film as EO‘s innocence is never broken and he is never fully aware of the cruelty humans engage in.
EO’s encounters throughout the film often include moments of laughter and cheer. Yes, the underlying darkness of EO’s journey is evident, but Skolimowski never fails to deliver heartfelt moments for EO. It’s quite a feat for Skolimowski as the 84-year-old director’s film is one of the unique concepts cinema has seen in 2022.
Skolimowski’s most crucial message for any cinephile that views the film is the importance of not just this donkey but animals as a whole. As a cat owner, I often see the negative reputation cats have endured along with the hypocrisy bestowed on cats and dogs, which is contrary as my beloved Bruce Wayne, is one of the sweetest animals I’ve ever encountered. Unfortunately, we sometimes live in a cruel world, and animals, are often the victims of human abuse.
EO took home the Grand Jury Prize at Cannes, and when Skolimowski accepted his honor, he stated, “Je veux remercier mes ânes,” which translates to “I want to thank my donkeys.” I will co-sign that sentiment as I’d like to thank all the donkeys that played EO in the film for one of the most emotional rides I’ve encountered this year. It’s a film that will stick with me for quite a while and one that deserves all the merits it continues to receive.
