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best documentary by the Academy Awards and which debuts digitally Friday, is a movie that aims to reorient the animal kingdom in cinema. It’s a little like if “Babe” wandered into an art house. Here, the animals of “Gunda” aren’t projections of humanity or metaphors for something else. There’s no sentimental coaxing of our identification with them. They are just going about their lives, and it’s for us to see things from their perspective.
When we meet our titular star, she’s resting in a barn door. The shot is lengthy — an early signal that Kossakovsky is slowing to the pace of his subjects — and soon her dozen piglets begin scampering over her. The action of “Gunda” is modest, but everything is captured
from such a realistic, ground-level view that it can feel otherworldly. Much of the movies’ pleasure is in just watching how the animals move and how the sunlight — the same light that we live under — shines on them. During a spring shower, the piglets stand in the doorway, sipping raindrops.
“Gunda” ultimately falls somewhere between banal and profound. Maybe it’s both. Kossokovsky, whose previous film, “Aquarela,” was an expansive and visceral study of water, has grounded the nature film in a new movie terrain that for all its restraint, oozes empathy. He has done right by his subjects, but have we?
“Gunda,” a Neon release, is rated G by the Motion Picture Association of America. Running time: 93 minutes.