More than a movie *about* anything, Dogtooth is really an artistic exercise, as much about the medium and about art itself than anything else.
The film focuses on a middle-class Greek family who live in the remote suburbs outside of town. The film opens with the three kids, all in their late teens listening to a tape recording of new vocabulary words. The "sea" is an armchair; a "motor way" is a really strong wind (later we see that a "telephone" is a salt shaker). Then the kids then devise a game where they hold a finger under the hot water and the last person to remove it will win. "What will we call this game?," asks one of them. The sister who has invented the game looks blankly at the floor. She has no idea what the game would be called.
This play with definitions, naming things and people and control of language is the central point of this film. The parents have set out a world where their kids are kept in the house and the small yard of the estate and told that on the outside of the wall are horrible, violent "cats" that will kill and eat them. They have no access to anything other than exactly what their parents give to them. No access to language, ideas or dreams. The parents have told them that they can leave the house when one of their dogteeth (canines) comes out. Of course, being the age they are, this is unlikely to happen ever. The kids seem to have been socialized to be dogs, rather than humans.
The father brings a woman over to have sex with the son. It seems this is part of his training as a man (to be a sexually dominant being) and also, possibly, a way to keep him in line (it might otherwise be tough to control a hormonal 19-year-old young man). This woman doesn't ask questions and plays along with some of the kids weird games. When she starts trading things from the outside world, uncontrolled things, with the older sister, the strict rules of the house start to go out of whack.
This is a totally fascinating post-modern experiment. The interplay between what the kids know from their parents and what they can make up themselves is wonderful. The idea that they can remain at the developmental level of young children without the influences of culture or society is shocking and pretty convincing.
The parents are cruel in their ways, and there are several suggestions that the father is prone to acts of violence. As a result, the children interact with one another frequently in violent ways. Just as sex is disassociated from it's cultural mores, violence has no position on a scale of right and wrong. Everything is OK as long as it's done inside the house - a world built up and protected by the parents.
This split between a thing and the meaning of a word that describes it (the sign and the symbol, as semiologists would say) is fascinating, not only because it tells an interesting story in the film, but also because of how we react to it as viewers. Is cutting someone with a knife across the arm necessarily a bad thing if the people involved in the act don't know it's bad? If a person doesn't have a name, is their existence different from those with names? Is incest bad if there is no concept of brother/sisterhood and social convention?
Director (and co-writer) Giorgos Lanthimos does a brilliant job of separating film convention from the core of the presentation format. There is no score, there are almost no moving shots. Scenes play out in full, generally with one static camera before being cut away, rendering editing almost totally unnecessary.
The result is a beautiful, tight piece that has almost nothing more than pure story-advancing material. Much of what we see is pretty funny, though we are basically laughing at the people onscreen, rather than laughing with them (the parents are certainly not funny people and the children don't seen to know what humor is).
I think this is another important part of the experiment: we laugh at things that make us uncomfortable (in this case, weird, disassociated violence or weird misunderstandings of people who can't comprehend most of what they experience). We do this because we understand the whole context of things and where an outlier fits in (or doesn't fit in) to that situation. These kids, for instance, only see a very small view of things that have been specifically explained to them. Part of why they don't laugh more is because they don't know enough to know when something is not totally right.
I have enjoyed thinking about this film and breaking down the meaning of parts. There is a lot of fun and interesting material to work with. I will say, though, that there is somewhat of a limit to the depth of meaning I can find. It might be fun to examine the mother's role, say, in the development of the kids, or to look at why the parents might do this in the first place. Unfortunately there are not a lot of answers to these questions, because the material presented is so limited, the film is just so tight.
This is a difficult piece to be sure - but I really enjoyed it. It's weirdness is what's great about it. It constantly surprising us and shocking us with unexpected things. It's really a brilliant work of art.
Stars: 3.5 of 4
The recent death of Dennis Hopper who has a small, yet memorable role was one, but overwhelmingly it's because the Coen Brothers next project is a remake with Jeff Bridges, Matt Damon, and Josh Brolin set to be released later this year. Although the Coens reportedly are aiming for their film to be a more faithful adaptation of Charles Portis's 1968 novel than a strict remake, the original was a milestone movie that won an Oscar for Wayne's performance as Marshall Rooster Cogburn, therefore a must see.
UPTOWN (Dir. Brian Ackley, 2009) A young couple (Chris Riquinha and Meissa Hampton) sits in a New York restaurant nervously asking each other questions. They are obviously on their first date. 
NOT THE MESSIAH (HE'S A VERY NAUGHTY BOY) (Dir. Aubrey Powell, 2010) 
Because I'm a long time fan I just had to see it the second it dropped on Blu ray.
