Dogtooth is an exploration of a strange existence. A father (Christos Stergioglou), a mother (Michelle Valley) and their three kids live in an insidiously sweet home located on the outskirts of a city. What's strange about the arrangement, however, is that surrounding the house is a large fence, separating the children from the outside world- which they have never been to. Instead, they are being raised in the manner that their parents deem appropriate, without any influence from the "evils" of the outside world. The only person allowed to go in and out the house besides the father is Christina, a security guard brought in to perform sexual favors for the son (Christos Passalis). The whole family is fond of her, until she begins the end of innocence for the family, starting when she gives the eldest daughter (Aggeliki Papoulia) a headband, and asks for something in return.
Though it was nominated for an Academy Award in 2010, Dogtooth has not quite gotten the credit it deserves. Dogtooth is a wicked mixture of biting satire (pun intended) and surreal indie systems that come together to create a film like no other. Director Giorgos Lanthimos, uses avant-garde filming techniques that is reminiscent of Bunuel in his prime, or even a mega-dystopian David Lynch, but ultimately these techniques are his own, and they all work together to enforce the total dysfunctional atmosphere manufactured by the film's mother and father. To put it mildly, "Dogtooth" is not for everyone, but after the credits roll I guarantee you will find it growing on you. The movie may seem sick and malicious and deliberately strange, but there is no doubt that Lanthimos creates a film that is hard (if not impossible) to forget.
Though it was nominated for an Academy Award in 2010, Dogtooth has not quite gotten the credit it deserves. Dogtooth is a wicked mixture of biting satire (pun intended) and surreal indie systems that come together to create a film like no other. Director Giorgos Lanthimos, uses avant-garde filming techniques that is reminiscent of Bunuel in his prime, or even a mega-dystopian David Lynch, but ultimately these techniques are his own, and they all work together to enforce the total dysfunctional atmosphere manufactured by the film's mother and father. To put it mildly, "Dogtooth" is not for everyone, but after the credits roll I guarantee you will find it growing on you. The movie may seem sick and malicious and deliberately strange, but there is no doubt that Lanthimos creates a film that is hard (if not impossible) to forget.