‘Animale’ Review: A Bullish Sophomore Effort from French Director Emma Benestan
23.05.2024 - 16:33
/ variety.com
Catherine Bray From Jekyll and Hyde to the Wolfman, to much more recent twists on atavistic transformations, the concept of shape-shifting has always been a popular one in fiction — with storytellers turning the dial up or down on the potential social commentary therein, according to taste and preference. In “Animale,” the closing film of this year’s Cannes Critics’ Week section, director Emma Benestan is rather more interested in the interpersonal dynamics navigated by 22-year-old female bull-runner Nejma (Oulaya Amamra) than in really savouring some promising horror implications. She gives Dr.
Jekyll center stage, as it were, rather than getting too involved with Mr. Hyde.
Nejma works at a ranch in Camargue, France, where bulls are raised to compete in the arena for baying crowds of exhilarated spectators. It is a traditionally masculine environment: From the bulls to the men who wrangle them, the emphasis is on displays of physical strength and ferocity.
It’s hardly the place for a young woman, at least in the eyes of some of the men who work there. Others are keener on her presence, but that’s certainly not because they are feminists. Nejma represents an opportunity for, at very best, some off-colour teasing.
More sinister subtexts are not difficult to parse from the get-go.
It’s not only the ranch-hands who struggle with the notion of Nejma’s chosen line of work. Her mother expresses concern that she could be gored in the abdomen, which seems a fair point, until she adds the wild corollary that it could prevent Nejma from having children in the future, which feels like the last thing you would be worried about at the moment of impact. The filmmaking is at its most successful when it moves away from dialogue-driven
.
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