Dogman (2018)

The Canaro's killing ("Il delitto del Canaro" in Italian) is one of Italy's most gruesome crimes in recent history. The night of February 18th 1988, Pietro De Negri, a dog coiffeur and small-time cocaine dealer living in Magliana (a small neighborhood in Rome), brutally murdered Giancarlo Ricci, a former boxer and cocaine addict who had long been physically abusive towards him. It's better to leave off the details of the homicide: it's enough to say that the mutilation of several body parts was involved. This tragic episode clearly influenced the realization of Dogman, though it's quite clear that Matteo Garrone (Gomorra, Tale of Tales) does not intend to do a faithful telling of a true story: the characters' names have been changed (Pietro De Negri becoming Marcello and Giancarlo Ricci becoming Simone), the story is set in present times instead of 1988 and the actual events play out in a very different way, especially towards the end. These are not flaws, as accuracy was never the film's goal: it's a timeless depiction of the cycle of abuse and a tragic portrayal on how a victim can only be pushed so hard until he becomes a perpetrator. 

Dogman is perhaps the most visually unappealing and unpleasant movie I have ever seen, and I mean it as a compliment. The bleak, dry cinematography and the often bare production design convey a sense of utter desolation, misery and squalor, creating an extremely powerful atmosphere that is not so much claustrophobic as it is quietly disheartening and depressing. Garrone's direction is outstanding at giving the movie a strong sense of place, perfectly capturing the toxic enviroinment within the characters are confined and of which the two main characters are tragic products. In a way, Dogman works as an effective counterpart to Paolo Sorrentino's Loro: whereas the latter depicts the moral corruption of the upper class, the former is a remarkably intelligent observation of the malaise of the disadvantaged class. There are a couple of moments in the film that hint at a more hopeful reality - namely, the few scenes involving Marcello (Marcello Fonte, who was awarded the Best Actor Award at the Cannes Film Festival) and his daughter Alida (portrayed in a sweet, endearing, quietly reactive performance from Alida Baldari Calabria). The affectionate warmth of the relationship between the two strikingly contrasts with the cold, soulless world they live in.

Garrone does a brilliant job at setting the tone for the movie and especially at never overdoing the violence: he slightly tones down the gory details of the true story, but he never sugarcoates it either. Most importantly, he and his co-writers Ugo Chiti and Massimo Gaudioso excellently depict the psychologically complex relationship between Marcello and Simone (played by Edoardo Pesce in an brutal, intimidating and animalistic performance that is consistently captivating and unpredictable). Simone is a repulsive man, a selfish person who uses fear and violence to abuse and opress other people in order to get what he wants. He has no moral compass whatsoever and he feels no regret for beating or even killing people. The movie makes no excuses for his character's horrifying behavior, but also portrays impeccably the miserable social conditions that create people such as him. Marcello is an even more complicated character and he is brought to life beautifully by Fonte, who gives an absolutely incredible performance that is simultaneously devastating and alienating. It's a realistic, gritty portrayal of a decent man gradually turned into a murderer and an extremely layered character study that is even more impressive if you consider that Fonte barely had any experience on his résumé. He is heartbreaking at portraying his character's pathetic desire to please as well as the growing strain that comes from Simone's abuse and his attempts to keep a cheerful façade in front of his daughter. It's a largely reactionary performance and in his eyes you can see the character's horror as he witnesses Simone's deeds and the growing pain that eventually becomes a desire for revenge. There is an especially powerful scene in which Marcello is accused of a crime committed by Simone and he has to choose between denouncing Simone or serving a year in jail: it's an amazing moment acted to perfecion by Fonte who conveys so powerfully the conflicting emotions of the character. 

The theme of the never-ending cycle of violence is nothing especially original and Dogman does not add a particularly inspiring or new reflection on it. But its execution is masterful and its impact is undeniable. Garrone creates a engrossing, disturbing and profound tale with a vivid, realistic depiction of a sick enviroinment and a phenomenal performance at its center. It's haunting, remarkable work that turns a specific event into a timeless, universal story. 

 90/100