EO

This thought-provoking film about the journey of a former circus donkey called EO – rescued by animal activists – won the Jury Prize at the 2022 Cannes Film Festival, before being nominated for Best International Feature at the 2023 Academy Awards. Directed by veteran Polish director Jerzy Skolimowski, EO has now been released as a 2-Disc set (DVD and Blu-ray dual format).

Featuring an animal rather than a human protagonist, director Skolimowski said that the inspiration for EO came from director Robert Bresson’s 1966 film AU HASARD BALTHAZAR and although certain plot similarities can be found, it is not a remake.
Focusing on visuals (even going as far as using different camera techniques to depict EO’s thoughts and dreams onto screen), the plot is relatively sparse and pretty straightforward. The story begins in a circus somewhere in Poland where young Kasandra (Sandra Drzymalska) performs in the arena together with her beloved donkey EO, to whom she is deeply attached. Soon after, animal activists manage to get the circus shut, claiming that it’s cruel towards animals to force them to perform and we see the animals led away by the authorities – leaving a devastated Kasandra behind.

Thus begins the journey of EO – a seemingly friendly donkey with melancholic eyes. At first, things don’t look too bleak when he is taken to an animal sanctuary where there are other donkeys and also children who shower the animals with attention but despite this safe haven, EO appears lonely and unhappy, thinking of past times (this is done via unique special camera techniques) in the circus and of the one person who showed him true affection and kindness. As if his (we assume that EO is male) thoughts are heard, Kasandra and her boyfriend (who gives her a ride on his motorbike) track him down – with the young woman bringing him a special ‘birthday’ treat: a carrot muffin. It’s clear that Kasandra would love to spend some more time with her treasured donkey but her male companion, who isn’t exactly that understanding, pressures her to leave or she can walk all the way back!

Saddened over the sudden departure of his companion, EO breaks free from the sanctuary in search of Kasandra, it is a search which takes him through perilous forests and countryside during which he encounters other animals, though the biggest ‘animals’ are some vile human beings in the shape of football hooligans who almost beat him to death after a winning rival team declared the donkey their mascot. The camera then zooms in on a crawling robot which is supposed to represent the badly wounded donkey (as opposed to depicting a badly wounded animal on camera) – one of several surreal and symbolic touches which aren’t always easy to decipher. After his recovery, EO’s journey into the unknown continues and, several borders later, his next encounter is another deeply unpleasant one, namely when he falls prey to traffickers who transport horses over the border with the intent of turning them into salami… or something like that. The trafficker in question, a young Polish chap with a penchant for heavy metal music and without a grain of conscience, unexpectedly gets his comeuppance however and EO finds himself rescued once more, this time by troubled young Italian drifter Vito (Lorenzo Zurzolo) who takes a liking to him and brings him to Italy and the large estate of his aristocratic stepmother (Isabelle Huppert), a naughty Countess who appears to be having an incestuous affair with Vito. Unfortunately, EO’s sheltered time is short-lived when it emerges that the Countess is forced to sell the estate due to financial problems. On the road again, EO embarks on his umpteenth journey, which also proves to be his final one… although the ending leaves quite a few questions unanswered.

It’s human greed and indifference versus the suffering of animals throughout his journey. After the closure of the circus and his forced departure from Kasandra, EO only encounters one human being, namely Vito, who displays understanding towards him. The well-meaning animal activists may have had the welfare of the circus animals at the forefront of their collective minds but for the little donkey it spelled the beginning of the end. Nonetheless, director Skolimowski came up with a powerful film about the dangers of human neglect towards the animal world, whilst EO pushes on in his quest for freedom. EO was portrayed by six different donkeys and no animals were harmed during filming.

For those who find the film somewhat hard to digest, an anti-dote is on offer: among the Bonus Features we are treated to the heart-warming and hugely entertaining 56-min film HIGH RISE DONKEY, a British Children’s Film Foundation adventure from 1980 about several children living in a high-rise tower block who try to save Barney, the donkey, from two bumbling small-time crooks (as per usual, one is Irish and the other one a Cockney) after the animal’s owner (Wilfred Brambell) is hospitalized following an accident. We also get Charles Armstrong’s rare 4-min silhouette animation THE CLOWN AND HIS DONKEY (1910).
Other Extras include ‘The Making Of EO’ with director Skolimowski and co-writer Ewa Piaskowska; Skolimowski A-Z (a 53-min audio journey from 2023); Trailers plus illustrated booklet (first pressing only).