Black Dog

This movie is not what I have expected. I was forced to sit through it with a very uninteresting viewing experience. The screen play is quite boring, loosely knitted together with no energy, no steam at all, but just a lifeless narration. What we saw in this movie is a dying town in the northern China, the livelihood is totally gone after the mining business died. What left is a pathetic town with so many ruined and empty buildings, just like what we saw in Flint, Indiana. The leading character, the protagonist as movie critics or veteran reviewers used to describe, Peng, seems to be an bad choice for such ex-con character, a complete out-of-the-place actor to play this role. His dialogue in this movie is minimum in order to portray that this guy is a loner who belongs to nowhere, even in prison, albeit his so-called hometown. There is not much to tell in this movie, and I really failed to see how the director of this movie would have won some nominations as the best director. Maybe less is more is the current trendy. Making a black stray dog as the co-acting role is just not interested enough to stimulate my urge that would give me any passion or empanthy to the whole storyline. I felt quite impatient when I watched this movie. All of the characters who appeared in this movie, those folks, young or old, cops or civilians who tried to get by in a dying town are interested enough, just like their boring dialogue to each other, to the leading role who looked more like a half dumb or deaf person. If a town is dying, if all the town folks are poor, if all of them lose hope, if their daily lives are all so boring, what would enable to make a movie interesting? Even you put a seasoned actor like Peng to play the leading character, how much he could possibly make this boring town with so many boring town folks become a bit more interesting? A spiritless young man and a black stray dog is as boring as Hemingway's "The Old Man and The Sea", other than somewhat literary values that usually was glorified as "Literature". Trying to tell you that "Black Dog" has certain philosophic depth is just a pretentious view that tries to look deep. How could you get anything out of nothing?

A minibus is heading for a small, desolate town on the edge of the Gobi desert. A pack of stray dogs charges towards it, scaring the driver and tipping over the bus. Out of it comes Lang, an ex-convict who used to be a popular stunt motorcyclist, now returning to his hometown after 10 years in prison for the murder of a local gangster's nephew. A few conversations with the police later, the title card appears, and the magic of Black Dog begins. A poetic and minimalist film of healing and moving on, portrayed through a friendship, a bond, a spiritual connection between man and dog. The man is Lang, and the dog is the infamous thin black dog that has been terrorizing the town. Rumored of carrying rabies, the black dog goes around defending his territory by pissing on walls and biting people, so everyone is out to catch him.

Black Dog is a story of two lonely strays caged by a world that does not understand them. Two lost souls alienated by the society around them. Two black sheep who do not fit in. Lang is marginalized because of his past as a "murderer", and the black dog is also alienated amongst the other strays for being the biggest, strongest, fastest and most aggressive of all the dogs. One of Guan Hu's main messages in Black Dog is that no animal is evil. Humans can be, but dogs cannot. Stray dogs are violent because they're in constant fear, trying to survive in an evolving environment where they do not belong. Lang is similar to a stray dog. He's not like the others. He only says a few words in the whole film as he's very quiet and introverted. Like the black dog, he's trying to make a life for himself in a town that's in the process of modernization. After his time in prison, Lang has changed, and so did the town and the people he once knew. So now, he doesn't speak, he only exists and goes with the flow. That's why Lang and the black dog are so perfect for each other and why they instantly connected-they're both just trying to survive in a world they no longer know, a world that no longer wants them.

Black Dog is set during an important time for China, a time of urbanization and change. And this little town is impacted deeply. Most of its residents have fled, leaving their dogs behind, who now roam free in the streets and in the desert hills. The zoo is running out of money to sustain the animals, so they too are freed in the desert. The circus is trying to survive, but business hasn't been good. The old is being demolished to make way for the new, which is a clever pararell with the ending of the film, where the black dog dies but leaves behind a new generation of black puppies. The cinematography of Black Dog is gorgeous, with Guan Hu adopting the new "slow-cinema" Chinese style of Bi Gan, which made me fall in love with the film almost instantly. Long, panoramic shots of beautiful landscapes, quiet scenes of motorcycle rides and slow walks through dusty roads and desolate rural villages, are all complemented with a lonesome atmosphere.

Scenes like Lang and the black dog calmly passing through the desert's stray dogs, and the solar eclipse sequence with the zoo's tiger wandering the town's streets freely, are two of my favorite of the entire year so far. And the final shot of Black Dog is so beautiful and meaningful. Through his canine companion, Lang finally learns how to keep on living despite his dark past, and how to find happiness within life's miseries. The Pink Floyd soundtrack gives a certain nostalgia to Guan Hu's relaxing images, and the acting performances are absolutely stellar, human and animal alike, from Eddie Peng to the black dog named Xiao Xin, and the majestic tiger. Just the fact that Eddie Peng developed such a strong bond with Xiao Xin while filming that he felt he had to adopt him afterwards, is a beautiful real-life illustration of the message of this wonderful film. A melancholic and meditative journey of finding your place in the world through friendship, and a genuine tribute to man's best friend, Black Dog is simply one of the best films of the year, and proof that Chinese arthouse cinema is still very much alive.

I had no idea idea what to expect when I saw this movie. It was slow moving but fully engrossing. It is set amongst a somewhat grim environment but really opened my eyes to how people exist in some parts of China. It is an austere existence, barren and treeless yet the town is gearing up for the 2008 Beijing Olympics with propaganda blasted over the loudspeakers in true communist China fashion.

Although it is a sobering film, there are several parts that are quite humorous and while it isn't heavy on dialogue, it is what NOT is said that makes you think.

I can see what this was a winner at CANNES.

Black Dog is a visually striking and emotionally resonant road movie about loneliness, redemption, and unlikely companionship. After his release from prison, Lang returns to his dying hometown tasked with capturing stray dogs before the Olympic torch arrives. But when he encounters a stubborn black dog, their shared solitude becomes the foundation for a subtle, powerful bond. Director Guan Hu relies on mood and silence rather than dialogue, using the desolate Chinese landscape as a canvas for inner transformation. The film's minimalism is its strength-each glance, gesture, and quiet moment adds emotional weight. Without ever becoming sentimental, Black Dog explores what it means to be seen, forgiven, and connected. A slow-burning, poetic journey that lingers long after it ends.

"Lang" (Eddie Peng) has returned to his hometown after a term in prison. We learn a little more about the causes of that and of his distant relationship with his zoo-keeping father as the story develops, as well as discovering that he once was one of the place's more famous citizens being in a popular local band. With the Beijing Olympiad (2008) looming large, there is quite an emphasis for the government on tarting the place up - and that signals quite significant "improvements" for their home on the edge of the Gobi desert. Much of it has already been earmarked for demolition, and with most of the heart (and soul) of the place already removed, the authorities turn their attention to the serious problem of hundreds of feral dogs marauding around potentially spreading rabies. There is one particularly skinny black one that is worth 1000 Yuan if it can be caught, and that's the target for the motor-cycling "Lang". Thing is, this mutt is no mug, and is soon doing more of the chasing (and biting). One particularly embarrassing nibble sees both confined to his home in quarantine and that's when the bonds begin to become established and we also realise the extent of hostility felt by some to this man. With the bulldozers never far away, his ailing dad's zoo no longer able to care for it's tenants and the vengeful butcher "Hu" (Hu Xiaoguang) and his thugs out for revenge, we settle into a tale of this newfound friendship that's quite engaging. It's predictable in stages, but it's really the largely dialogue-free effort from Peng set against a backdrop of relentless winds, dust and trains rolling through the increasingly lifeless town that gives this a bit of potency. It's not so much that the town is being cleared because of the Olympics, though that's clearly on director Hu Guan's mind, it's that why was a town ever here in this inhospitable place in the place? It's bleak and forlorn, a concrete oasis in the middle of nowhere and that setting works well as the man himself comes across as lonely, detached as well as emotionally and physically rootless. It's a slow watch, but not one that drags, for two hours and it rather effectively sums up an existence of mundanity, lack of opportunity and a desire for a true sense of freedom quite well. Be warned, not a great deal happens - but I did enjoy it.