Synopsis
The unwanted will have their day.
Failing in his desperate efforts to find his beloved owner, an abandoned dog eventually joins a canine revolt leading a revolution against their human abusers.
2014 ‘Fehér Isten’ Directed by Kornél Mundruczó
Failing in his desperate efforts to find his beloved owner, an abandoned dog eventually joins a canine revolt leading a revolution against their human abusers.
Zsófia Psotta Luke Body Sándor Zsótér Szabolcs Thuróczy Lili Monori László Gálffi Lili Horvát Károly Ascher Gergely Bánki Erika Bodnár Tamás Polgár Vanda Verle János Derzsi Ervin Nagy Ferenc Lakatos Bence Csepeli Krisztián Vranik Kornél Mundruczó András Réthelyi Hans van Vliet András Hidvégi Orsolya Tóth Natasa Stork Edit Frajt Virág Marjai László Melis Csaba Faix Kata Wéber Show All…
Karl Baumgartner Michael Weber Gábor Kovács Jessica Ask Viktória Petrányi Malte Forssell Viola Fügen Fredrik Zander Alexander Bohr
The White God, White God - Sinfonia per Hagen, Hagen y yo, Weißer Gott, Deus Branco, 4 ขา ล่าปิดเมือง, Dios blanco, Underdog, 白色上帝, Orașul câinilor, Белый Бог, Beyaz Tanrı, Revolten, Biały Bóg, Λευκός Θεός, 화이트 갓, Белият Бог, Бели бог, Білий бог, 狗眼看人間, האלוהים הלבן, Beli bog, 忠犬追殺令
Shortly before the bonkers climax of White God, a few impounded dogs alertly watch a Tom and Jerry cartoon called “The Cat Concerto” on a television set in their pen. Tom plunks away at Liszt’s Hungarian Rhapsody No. 2, as the dogs sit in rapt attention. It’s a darkly funny moment – especially given the carnage about to ensue – and also a perfect encapsulation of the movie’s aesthetic. A thrillingly wild mixture of high art and low, White God cheekily comments on how we often hide behind civilized culture to mask our basest natures.
Full review here.
38/100
This movie's stupid. I suppose it's slightly less stupid if one views it allegorically—that is, if the dogs are supposed to represent minorities—but that barely seems tenable, especially w/r/t the laughable ending. Otherwise, its sole point of interest is its use of real dogs at the climax, which isn't remotely scary (Mundruzcó has no feel whatsoever for horror) but does at least represent an impressive feat of screw-you-CGI logistics. And then he goes and ruins that by using said climax, which should arise out of nowhere, as a surreal flash-forward "grabber" at the outset, a ploy that smacks of bad television. At best, this might have worked as a segment of Amores perros (which it explicitly apes for a while); two hours is beyond laborious, and every cut away from Hagen to the little girl and her dad feels like Mundruzcó deliberately wasting your time.
81/100
I remember seeing him at first in a blur. Scurrying around with no sense of direction, the puppy ran towards me with indescribable joy and love, and he acted the same for anyone who even slightly glanced towards his direction. Our family named him Louie, and ever since that singular day, we were inseparable. Running, playing, watching STAR WARS; we did everything together. And when friends came into the mix, everyone loved him. I don't think I ever came across a person who shrugged Louie off like he was just another random dog (well, there's no such thing as a random dog, but you get it). He was this special burst of energy, a lovely mix of rambling insanity…
you know when someone is like “I watched this movie with my kid and I cried”
Ok I did that with my stupid dog who I love and who would die without me (fact)
my dog would only watch the scenes where there was a dog barking, so read into that how you will...
I really do believe there should be more movies about roving gangs of animals
I hope all the animals were treated well..tbh all of the dogs are all really good actors......
these are my thoughts, this is my review.
Hungarian filmmaker Kornél Mundruczó begins with a jaw-dropping sequence in a tale which serves as a cautionary warning between a species brought into disrepute and its much worthier four-legged superior, as it accounts an abandoned dog gathering together some mistreated tail-waggers for an act of rebellion against some loathsome and abusive humans. It additionally performs the duties of being a sociopolitical fable as well as taking advantage of often repeated themes from the coming-of-age genre for a caninophile teenage girl.
The production employs innumerous canines which according to a title card at the start of the film were all liberated from Hungarian shelters, and hopefully respecting homes were provided for them when production was finally completed. The deceptive filmmaker creates threatening demons out of the attractive and endearing dogs, frequently digging deep into outright horror territory, and the fable stimulates Hitchcockian level melodrama as it spotlights vulnerable and unloved lives in a greedy and unsympathetic society.
Even if it's hard to watch, this is a smart social metaphor. One of the most surreal experiences I've ever had watching a movie.
The most powerful aspect of the film is that it challenges the viewer to see human-nonhuman relationships as mired in ambiguity.
There is not enough one can say about “White God.” If anything, the film really is an experience. One to induce a linear increase in your interest while you watch, and its content will occupy your thoughts for some time after. Its power in creating the feelings of pain, suffering, disgust and anger is monumental. “White God” is so aggressive and emotionally charged that it might stay with you for life.
Rise of the Planet of the Canines
I had such high hopes for White God. Despite the negative reactions I've read this far, I had seen some pretty positive things too, namely Rogerebert.com, a site that I began losing hope in after they gave Mommy one star. Sadly, it appears that when White God isn't focused on Hagen and the other dogs, we realize that the human characters are simply terrible. And a story full of nothing but cute doggies, does not a good film make.
White God is, as my review title would indicate, a type of Rise of the Planet of the Apes for the art house crowd. Switch James Franco with a little 12 year old girl,…
Quite possibly one of the most ridiculous pieces of cinema you'll see in a long while. Although, seen in a different light, the winner of last years Un Certain Regard is already - unintentionally - in the running for comedy of the year. The dogopalypse is upon the residents of Budapest as the Muts Strike Back, creating a Planet of the Strays. And so on.
Apart from those who choose to spend their time watching this poor attempt at a political analogy (whiteys bad/immigrants mad), the ones that really suffer are the dogs on screen. They were awarded the Palm Dog Award (yes really. Although surely, it should be Palme D'og) off the back of their exceptional performances in the…
There's a positive side and a negative side to this, they are as follows:
+ Doggies
- Not doggies
Everything that isn't dogs doing doggy things is kinda shitty. Most things dog related were kinda cool. I like dogs.
Overall; pretty silly and ham-fisted, even as an allegory, maybe even especially so as an allegory. Some awesome shots of the dog horde though. I would like to see a making-of of this, it must have been fun as hell to work on.
Wow, that was some weird arse amazingly good shit! The synopsis on TV made it seem like it was just gonna be a film of a girl and her dog looking for each other after her Dad let it go in the streets. But I was not prepared to follow the dog on its horrifying journey, that at times felt like a live action version of Plague Dogs. Some shocking scenes in here with wild dog revenge mayhem and that ending, damn!!