The Dog

The Dog is a bizarre yet arresting new short film from Australian filmmaker Danielle Baynes. It tells the story of a vet and the ways in which her professional and psychological life converge in dangerous ways. The story focuses specifically on the putting down of pets... an unpleasant subject for a short film but one which allows for some deep exploration of the nature of death as well as the mental toll it takes on our protagonist. This central performance by Kate Walsh is really what holds the piece together and makes the content watchable – the character is complex, but the performance is equally layered. There’s so much to admire, from the precision of the cinematography to the inventiveness of the movie’s theme, and after all the tragic goings-ons we’re left on an oddly cathartic and hopeful note. It’s a film which gets under your skin not just because of its dark substance but also due to the subjective, immersive characteristics of the storytelling and style; we, as the audience, are fully placed in the perspective of our central character even if we don’t want to be.

One of the most admirable elements of the picture’s construction is how it’s clearly storyboarded from beginning to end, and you can tell. Although storyboarding is not necessarily an indicator of quality, the stripped down, specific compositions suit The Dog perfectly. I’d also point out that it’s been shot with some really lovely feeling lenses, consisting of that contemporary soft-but-sharp look. Additionally, the colour grade elevates the footage to highly professional levels; it’s cold and contrasty yet in no way overbearing in terms of stylistic presence (meaning one is not distracted from the action or focus). Technically and aesthetically, it doesn’t get much more cutting-edge in the world of independent short filmmaking than this.

The story really is an unusual and rather disorienting one for the viewer -- not to say that it’s confusing; but instead that its tone and theme prove jarring. In all honestly, there are very few short films I can think of that are remotely similar to this in terms of content, and for that reason I must commend its originality in addition to its disturbing subject-matter. You’re introduced to the world of the piece in the most unappealing way possible, even if it is apt. And the way the movie climaxes is even more unexpected! - Taking place in presumably a liminal perception (it’s at the very least being told in the abstract), the sequence plays out as a confrontational, reflective dream. It’s a bold way to end, and guides the viewer into a more receptive mode of interpretive and open-ended spectatorship -- i.e. good stuff.

There are some phenomenal, creatively exciting decisions being made in The Dog. It’s an impressive piece of work on almost every level with really its only flaw being the morbid atmosphere it so expertly crafts; how watchable the end result proves to be is up for debate. But the stylistic shift from realism to surrealism, in regard to the final act, is actually wonderfully well-handled. I wholeheartedly recommend this film for its terrific central performance, original concept, and sharp direction.