Doubtless you are familiar with the music concept of ‘a mash up’ – taking two well known, disparate tracks and mixing together to create an all new (and hopefully fabulous) musical lovechild. Now meet its cinematic cousin, White God, the rebellious, illegitimate son of Lassie and 28 Days Later. Not only did it win Un Certain Regard at Cannes but its remarkable canine stars won the coveted Palm Dog, a title previously awarded to such four legged luminaries as Uggie from The Artist and Dug from Up.
Hagen the dog is a handsome crossbreed devoted to his young owner Lilli (Zsófia Psotta). A product of a broken marriage, Lilli has been sent to stay with her father taking Hagen in tow. Unfortunately, neither Lilli’s father nor the owners of his state controlled apartment are keen on crossbreeds, the ownership of which necessitate paying a government tax. Unwilling to fork out cash to keep a mutt, after much wailing and protesting from Lilli, her father cruelly dumps Hagen by a busy roadside to fend for himself.
Initially finding company among other street strays, Hagen’s naivety soon gets the better of him as he is captured by a tramp who sells him to a dog fighting ring. Half starved, deprived of affection and forcibly exercised, Lilli’s loving pet is soon unrecognisable, methodically transformed into a snarling mass of teeth, claws and agression. But eventually the tables begin to turn as Hagen, plus an army of crossbred pooches imprisoned in the hellish city dog pound, start to rebel against their human oppressors.
An analogy for class oppression, as well as a chilling reminder of the cruelty man can inflect on beast, White God is wildly original, often deeply disturbing and tinged with pitch black humour. We defy you not to suppress (or let out – what the hell) a cheer in the final scenes as Hagen and his hundred strong canine army run amok through city streets in some of the most astounding and arresting visual imagines we’ve seen in cinema. The proverbial dogs danglies.
UK release 27 February.