Lucid soul trailer series#

This slaughterhouse certainly isn’t hip to the #MeToo movement, as the men ogle the women with an open rapaciousness that might shame Roger Sterling.Įnyedi underscores another parallel between the film’s humans and livestock, then, as the humans objectify one another in the same manner that they do the cows on the chopping block, in each case prizing meat over individual agency. Once an accomplished cocksman, he now regards his attractive female co-workers with a contemptuous lustfulness that’s characteristic of sexually frustrated males. Endre (Géza Morcsányi), the company’s financial director, has a paralyzed arm that broadcasts his feelings of impotency.

Lucid soul trailer series#

Collectively, the film’s opening scenes introduce a series of nesting associations that will unite a baroque medley of concepts.Īt its center, On Body and Soul is another film that’s concerned with disabled people romantically completing each other-a trite fantasy that’s complicated by Enyedi’s crisp and chilly formal poetry, and by her absurdist rendering of the cruelty and camaraderie that drive the castes of the slaughterhouse.

And though the deer seem to possess comparable freedom in a magically unpopulated woods, they appear to be stymied by human indecision and yearning. Though the cows have a far worse lot in life, they share a feeling of entrapment with their human captors.

The cows are subsequently connected to the film’s human characters, as the metal fencing of the slaughterhouse’s pens visually rhymes with the offices of the company’s human resources department, which are composed of sterile glass and paneling that suggest cages. As these pastoral images blend into bleak shots of cows being herded into a Hungarian slaughterhouse, Enyedi emphasizes the empathy and intelligence that the deer and cows each project, linking the animals together thematically. Ildikó Enyedi’s On Body and Soul opens on a buck and a doe navigating through snowy woods, in a reverie that climaxes with the buck placing its head on the doe’s neck in a haunting gesture of kinship.