a zombie is a yellow flower
by Douglas Messerli
Giorgos Lanthimos and Efthymis Filippou
(screenplay), Giorgos Lanthimos (director) Κυνόδοντας (Dogtooth) / 2009, USA 2010
The Greek film Dogtooth begins with a confounding if somewhat comedic episode
wherein the three children of the house, a son, older daughter and younger
daughter, turn on a tape recorder which tells them of the four words they must
learn that day: Sea, Motorway, Excursion and Carbine. "The sea is a
leather armchair with wooden arms." "A motorway is a very strong
wind." "An excursion is a very resistant material." "A
carbine is a beautiful white bird."
No, we are not entering a work by Gertrude Stein, but have entered
instead a beautiful home with manicured lawns, in which, we soon learn, these
nearly grown children have long been incarcerated. They have never been
permitted to leave the property, and their lessons, home-taught by their
parents, help to prevent them to comprehend anything of the outside world. Only
the father (Christos Stergioglou), owner of a nearby factory leaves the house,
the mother staying home to tend her children, occasionally telephoning her
husband in a locked room, wherein the children believe she is talking to
herself.
Along with their strange lessons, come other bizarre tales which the
children have been taught, namely that they have a brother who lives
immediately outside the wall that surrounds the house, doomed to world behind
their "paradise" clearly because of some infraction. Later, when the
elder brother discovers a cat on their property, he is so terrified that he
stabs the cat to death with a pair of pruning shears, the father using the
opportunity to return in a blood stained shirt, telling them that their brother
has been mauled to death by a horrible cat. The three are made to get down on
their knees near the car gate, barking like dogs.
Equally bizarre, the children are taught that the passing planes
overhead are toys, and discover toy versions of planes planted throughout the
property, with which, like much younger children, they joyfully play.
If this all seems to be a story of a simple a bizarre alternative
universe, a kind of Kafka-like reality, we soon discover the terrible
implications of their isolation. Alone, the children play games of
"endurance," testing which of them can keep her hands under hot water
or how long they can remain under water in the swimming pool. When the brother
temporarily borrows his sister's toy airplane, she cuts his arm with a kitchen
knife.
To deal with their son's growing sexuality, the father brings home,
blindfolded for each leg of a trip, a security guard from his plant, Christina,
the only character in this work with a name, who complaisantly agrees to have
sex with him—presumably she is paid and, in any event, it would be difficult to
say no to her boss—but she is soon bored with the boy's straightforward and
uninvolving sexual activities; and, when he refuses to participate in oral sex,
calls him a "zombie." Always ready to explain all things away, the
mother (Michele Valley) answers the boy's question about the word's definition:
"A zombie is a small yellow flower."
Offering the elder daughter a headband she is wearing, Christina instead
involves his elder sister in cunnilingus, introducing the girl into lesbian
sex.
On a second visit, Christina offers the younger sister some hair gel for
the same pleasure, but when the girl refuses, she is forced to give up two film
tapes instead. The tapes, obviously of Rocky
and Jaws, effect the girl immensely,
as she plays out scenes from the movies in family life. Discovering the tapes,
the father beats her with the plastic tape boxes and later hits Christina over
the head with a video player.
Perceiving the error of their bringing a stranger into the house, the
father shifts gears, allowing the brother to pick one of the sisters as a
sexual companion, introducing the family into incest as well.
The obvious comparisons between this family and the activities and the
Austrian father Josef Fritzi, who for years kept one of his own daughters in
hiding in their own home, fathering several children with her, is made even
clearer as he see the parents' threats against their offspring. Desperate to
bring home the dog he has given over to train from a "friend" to an
"animal" who will guard their house and the secrets within, the
father tells his children that his wife will soon bear two children and a dog, although
the children may be eliminated if they behave.
The children have been told that they may leave the house only when they
shed their canine teeth. Uncomfortable with the sexual activities with her
brother, the elder daughter acts out a scene from Rocky in response before smashing her face to remove the tooth, hoping
to escape by positioning herself in the trunk of her father’s car.
Dogtooth was the winner of the Cannes Festival's award "Un certain regard," and was nominated for the 2010 Academy Award for a foreign film.
Los Angeles, March 21, 2011
Reprinted from World Cinema Review (March 2011) and Reading Films: My International Cinema (Los Angeles: Green Integer,
2012).
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