They are also the destroyers of everything that matters to the central character of the film Duszejko (Agnieszka Mandate), a retired hippie, engineer and schoolteacher as well as a flesh mother of nature itself, leading a lonely but grounded on principles. life in this bloodthirsty village. Passionate about animal rights and astrology, the resident of the Klodzko Valley enjoys a decent and peaceful existence with her two beloved dogs and lots of Bach in the background until the blood begins to flow. mysteriously sink. It all starts with the inexplicable disappearance of his best four-legged friends one day. Faced with a man after an unfriendly man in his quest to find them – including a particularly deranged priest who shames him for referring to his dogs as his children and denies such an obvious fact as animals with souls – Duszejko stands finds himself in the middle of a blood spattered labyrinth with increasing numbers of bodies.
One of the first victims the crime wave claims is a violent poacher who lives next door to Duszejko. Then others join in the horrific consequences: a police chief, a farmer, a local celebrity with shady connections. In the meantime, if only people took Duszejko’s instinct seriously; this nature is finally fighting and avenging mankind for all its abuse and damage, and learning to read the earthly songs of dead deer and gloomy woods as it does. But her warnings to all locals fall on worrying deaf ears, with brief and misogynistic authorities dismissing her concerns (among them, a systematic violation of hunting laws) as far-fetched theories of a mad old woman. . At least Duszejko proves that there are people around her that she could allegedly rely on – an interesting and deeply mysterious group with distinct peculiarities that you would expect in the orbit of such an eccentric character. There’s Dyzio, an epileptic computer scientist who works for the police. There’s Matoga, a longtime neighbor who discovers the body of the dead poacher with Duszejko. Also pictured is a young woman on a heroic quest to regain custody of her brother by any means necessary.
Adapted from the novel by Olga Tokarczuk Drive your plow over the bones of the dead, there is a strong political advantage to “Spoor”, which deals head-on animal rights and patriarchy, if not a little harshly. In that regard, its narrative is crowded spanning themes, genres, and a multi-faceted array of characters (even a romantic plot somewhere in there), which makes one wonder if an episodic treatment would have better suited the source material. Still, Mandat’s engaged performance which wears the horrors of the tale on its sleeve makes the case more than worth it. Not to mention the cinematic mastery of Holland herself who loads every frame of her hazy, muddy, cold-to-the-touch film with the eerie grandeur and vitality of nature that surrounds Duszejko’s world. (Sensitive eyes should be warned that animal corpses and associated gruesome scenes won’t be uncommon in “Spoor.”) While that doesn’t live up to some of the bigger directors like “In Darkness” and “Washington Square,” “Spoor” nonetheless makes an unmistakable political statement, with Holland’s lens capturing the hearts and souls of the animals some of the film’s despicable characters sorely despise.
Now available on VOD.