Date Showing Showing On 14, 16, 17 June
Time Showing Monday 6pm, Wednesday 4pm & 6.30pm and Thursday 6pm

Only The Animals

M 1hrs 58mins
thriller | 2019, France, Germany
Overview

A woman has disappeared. The day after a snowstorm, her car is found on a road leading to a plateau with with nothing but a few scattered farms. The gendarmes have nothing to go on, while five individuals well know they have something to do with the woman's disappearance. They all keep their secrets to themselves, but no one suspects that the whole story began far from these windswept wintry peaks: on another continent, in the burning sun, where poverty doesn't stop desire from taking the law into its own hands.

Warnings

Mature themes, violence, sex, nudity, and coarse language

Director
Dominik Moll
Original Review
Amber Wilkinson, Eye For A Film
Extracted By
Gill Ireland
Featuring
Denis Ménochet, Laure Calamy, Damien Bonnard

Watch The Trailer

ONLY THE ANIMALS | Exclusively on Curzon Home Cinema 29 May

Storyline (warning: spoilers)

If you want to know what a goat having a piggy back on a bike in Africa has in common with
dysfunctional relationships and a disappearance in wintry France, you'll have to wait quite a
while in Dominik Moll's thriller, which reveals its cleverly worked secrets slowly.

The story is as twisty as the roads that wind through the parts of rural France where Michel
(Denis Ménochet) and Alice (Laure Calamy) run a farm. They are just two of the characters
whose connections will be gradually revealed, alongside fellow farmer Joseph (Damien
Bonnard), Evelyne (Valeri Bruni Tedeschi), who is staying in her second home in the area, young
waitress Marion (Nadia Tereszkiewicz) and Armand (Guy Roger 'Bibisse' N'Drin), who lives half a
world away.

To reveal much about the plot beyond the fact that there is a quiet dissatisfaction about all the
characters, would be to spoil the dark fun that Moll and his co-writers Gilles Marchand and
Colin Niel have crafted as they pull the perspective this way and that until the whole story is
finally revealed. "I don't like lies," one character declares - and much of the film is built on
them. Lies told to spouses, lies told for profit and, most dangerously perhaps, the lies the
characters tell themselves. The other factor in the film is chance, which one character is told "is
greater than you".

There is a lot of coincidence here and though it arguably gets pushed a bit far in the film's final
15 minutes for the sake of a neat ending - the one moment when the action becomes
predictable - for the most part it remains deliciously plausible.

This may be a cool indictment of self-centred humanity - matched by chilly scoring from
Benedikt Schiefer - that shows how apparently small follies can have drastic consequences, but
it's also an enjoyably constructed puzzle box of a genre film that delivers plenty of surprises

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