のら犬

This is quite an enjoyably complex drama that follows the relationship between "Dog" (Anthony Bajon) and his pal "Miralès" (Raphaël Quenard). The latter man is more of his mentor, really, and quite a critical, even cruel, one at that. They've been friends since they were twelve and "Dog" is a rather shy and reticent sort of fellow that his pal constantly tries to bring more out of his shell. Well, that dynamic changes somewhat when "Elsa" (Galatéa Bellugi) arrives on the scene and quickly she and "Dog" are an item. They want to be together, they don't really want "Miralès" hanging about with them, and he doesn't take that situation well. Despite his confidence and undoubted erudition, he - a trained chef - now finds himself largely alone with only his artist other at home, and his own dog upon whom he dotes. Things come to an head when "Dog" manages to annoy a local hoodlum, draws some interesting designs on the bonnet of his car, and faces quite a perilous situation as his gang seek retribution. Things become dangerous - but who can he turn to? It's this final storyline that lets this down a bit, otherwise there's a tautly directed storyline between the two men that's peppered with a lively script riddled with sarcasm and put-downs yet also clearly imbued with a considerable degree of fraternal affection. Though a bit verbally brutal at times, there s truth to some of the barbed remarks as the young "Dog" rather aimlessly coasts through life, and Bajon portrays that character effectively - especially given that he has virtually no dialogue at all. This film is also the source of one of the most lifeless sex scenes I think I have ever seen that didn't actually involve a mortuary - and that's quite entertaining. It's quirky and different, and though I thought it did rather fizzle out a bit, I did enjoy it.