Another green world: with its pop imagery, sonic dissonance, and vision of life after Armageddon, Marco Ferreri’s 1969 dystopian fable brings to mind a film by George A. Romero remade by Jean-Luc Godard
Godard always seemed to be asking What is a movie? What can it do? knowing that he would never find a satisfying answer, forever in pursuit of what was still beyond the grasp of his own prodigious powers.
THE WORLD HAS SELDOM if ever seemed at once as ravishingly beautiful and beset with menace and cruelty as in EO, where it is imagined by Jerzy Skolimowski through the eyes no, the entire perceptual system of a donkey. EO (named for the hee-haw sound these animals make) performs in a circus with Kasandra, a young woman who dotes on him like Titania in A Midsummer Night’s Dream. It’s a love that is nurturing and tinged with eroticism. When Kasandra abandons him, riding off on the back of a motorcycle with the man who abused him, EO trots after her, but in dodging an oncoming car, he loses her