In one scene in Natalia Meschaninova’s “Core of the World,” animal rights activists free some caged foxes from a hunting dog training farm in the forests of Russia. A few days later, two of the foxes reappear at the farm and climb back into their cages: They cannot fend for themselves in the wild.
The narrative vignettes stands metaphor for Egor, the film’s protagonist, a 20something vet who lives at the farmsted’s outhouse and is in desperate need of a controlled environment with no complications after a past history of violent confrontation with his mother, whose funeral he refuses to attend.
When Belta, one of the dogs, is mauled by other dogs, he tends for her like his child. He’s hugely patient with Ivan, the attention-seeking young grandson of the farm owner. But it seems only a question of time and circumstance for his tight-wound violence to explode again.
The narrative vignettes stands metaphor for Egor, the film’s protagonist, a 20something vet who lives at the farmsted’s outhouse and is in desperate need of a controlled environment with no complications after a past history of violent confrontation with his mother, whose funeral he refuses to attend.
When Belta, one of the dogs, is mauled by other dogs, he tends for her like his child. He’s hugely patient with Ivan, the attention-seeking young grandson of the farm owner. But it seems only a question of time and circumstance for his tight-wound violence to explode again.
- 9/24/2018
- by John Hopewell
- Variety Film + TV
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