The exploitation of animals in society and the food industry, in particular, is a problem most consumers don’t want to face or consider but a protest movement against the practice is growing larger every year thanks to hard-hitting documentaries like Myriam Alaux & Victor Schonfeld’s The Animals Film (1981), Shaun Monson’s Earthlings (2005), and Robert Keener’s Food, Inc. (2008) – all of which expose the mass production of animals for food. Tackling the same subject but taking a completely different approach to it is Gunda (2020) by Russian filmmaker Viktor Kossakovsky, which dispenses with voice over narration, a music score or any on-camera interviewees. Instead, it focuses a sow named Gunda and her piglets, a few chickens and some cows over a brief period on a farm before they become “products.” The concept may sound uninteresting and tedious but Gunda is not really a traditional documentary by any stretch of the imagination and the result is a completely engrossing, emotional drama with animals as its main characters.
One of my favorite movements of the 20th century in cinema was the emergence of the Czech New Wave. Out of this creative period, which lasted from roughly 1962 through 1970, the film world was introduced to such innovative filmmakers as Milos Forman (Loves of a Blonde, 1964), Ivan Passer (Intimate Lighting, 1965), Jiri Menzel (Closely Watched Trains, 1966), Vera Chytilova (Daisies, 1966) and Jan Nemec (A Report on the Party and the Guests, 1966). In recent years, other Czech directors have been reappraised and elevated in stature thanks to the proliferation of DVD and Blu-ray restorations of such movies as The Sun in a Net (1961) by Stefan Uher, Pavel Juracek’s Case for a Rookie Hangman (1970) and Valerie and Her Week of Wonders from Jaromil Jires (1970). We can now add to that list The Cremator (1969), Juraj Herz’s macabre fable, which is finally being recognized as one of the key films from the Czech New Wave. Continue reading