You wouldn't think cinematic style would overwhelm such a powerful choice of topics, but that's the case. Borrowing liberally from the great Errol Morris (The Thin Blue Line, The Fog of War), Devor has a spooky artistry and odd narrative approach, an avant-garde sense that practically hypnotizes. Zoo is full of carefully structured visuals, with actors often playing the roles of real people. The camera sweeps smoothly and deliberately across landscapes and along meandering roads. Players stand within well-composed images, the world seemingly in slow motion. It's peaceful and dreamlike, but frightening as hell -- an ideal presentation for a film about intimacy between humans and horses.
Continue reading: Zoo Review
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