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Wildlife Paul Dano’s debut feature, which causes an important fury in every place where it is presented, starts from a Wildlife novel by Richard Ford, translated into Spanish as Incendios. The novel begins like this: “In the fall of 1960, when I was sixteen and my father had been out of work for some time, my mother met a man named Warren Miller and fell in love with him.” In a first sentence, Ford condensed all his thematic and narrative intentions and then dealt with the grays that this small great event determined.

The opposite happens in Dano’s film. Wildlife never reveals everything or makes small summaries: it prefers suggestions, environments full of secrets, imperceptible tones. Everything is cared for with an almost perfect determination, perhaps as the characters in the film would like their lives: a straight path, without detours, which allows them to always be sure of everything they do, feeling the repercussions of each act. Thus, the film goes in one direction and its characters in another. Dano, a perfectionist, films a family going down a road without signs or signs. That meticulousness and revision of detail is not, in any case, a straitjacket, as it could have been for another more clumsy filmmaker, who considers that the perfection of a shot would be equivalent to the gaseous perfection of the entire film. In Wildlife, a note written during a class, an absence, a small change (sleeping on the couch and not in bed, making food or not doing it) are equivalent to that first sentence of the novel: a revelation of what happens or of what will happen. Ford names all the pieces of the puzzle; Dano makes them appear, but doesn’t say them out loud.

Duration: 105 min


IMDb: 6.8