7.3/10
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Dogman (2018)

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Release Date: April 12

Marcello, a small and gentle dog groomer, finds himself involved in a dangerous relationship of subjugation with Simone, a former violent boxer who terrorizes the entire neighborhood. In an... See full summary »

Director:

Matteo Garrone

Writers:

Ugo Chiti (story), Matteo Garrone (story) | 8 more credits »
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Popularity
567 ( 87)
Nominated for 1 BAFTA Film Award. Another 21 wins & 18 nominations. See more awards »

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Cast

Cast overview, first billed only:
Marcello Fonte ... Marcello
Edoardo Pesce Edoardo Pesce ... Simoncino
Nunzia Schiano Nunzia Schiano ... Madre Simoncino
Adamo Dionisi ... Franco
Francesco Acquaroli Francesco Acquaroli ... Proprietario Videolottery
Gianluca Gobbi Gianluca Gobbi ... Proprietario Ristorante
Alida Baldari Calabria Alida Baldari Calabria ... Alida
Laura Pizzirani Laura Pizzirani ... Madre Alida
Giancarlo Porcacchia Giancarlo Porcacchia ... Gasparone
Aniello Arena ... Ispettore Polizia
Mirko Frezza ... Pusher
Marco Perfetti Marco Perfetti ... Pusher 2
Vittorio Russo Vittorio Russo ... Commerciante
Gennaro Iannone Gennaro Iannone ... Commerciante
Emanuele Barbalonga Emanuele Barbalonga ... Padrone Cane
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Storyline

Marcello, a small and gentle dog groomer, finds himself involved in a dangerous relationship of subjugation with Simone, a former violent boxer who terrorizes the entire neighborhood. In an effort to reaffirm his dignity, Marcello will submit to an unexpected act of vengeance.

Plot Summary | Add Synopsis

Taglines:

Everyone has a breaking point.

Genres:

Crime | Drama | Thriller

Certificate:

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Parents Guide:

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Details

Official Sites:

Official Facebook | Official site | See more »

Country:

Italy | France

Language:

Italian

Release Date:

12 April 2019 (USA) See more »

Also Known As:

Dogman See more »

Filming Locations:

Rome, Lazio, Italy See more »

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Box Office

Opening Weekend:

€566,442 (Italy), 20 May 2018, Limited Release
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

2.39 : 1
See full technical specs »
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Did You Know?

Trivia

Official submission of Italy for the 'Best Foreign Language Film' category of the 91st Academy Awards in 2019. See more »

Goofs

Right at the beginning of the movie (at about 1:45+), someone's arse can be seen behind the pit bull box. See more »

Soundtracks

Italove
Written by Emanuelle Moutinho, Stephen Dewaele and David Dewaele
Courtesy of Deewee
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User Reviews

 
Unlikable Characters and Bone-Headed Decisions Sink This Promising Italian Drama
26 September 2018 | by roblesar99See all my reviews

Matteo Garrone's DOGMAN starts off fairly strongly, but it unfortunately runs out of steam before the third act even begins... and then the third act has the gall to conclude with an unsatisfying final shot. I struggle to connect with films that focus on morally reprehensible characters, no matter how well-crafted the films themselves might be (ex. RAGING BULL, GOODFELLAS), and DOGMAN fits right in that category. The film focuses on Marcello, a timid dog groomer regularly accosted by towering neighborhood bully Simone, who starts off as an interesting character thanks to Marcello Fonte's great performance, but by the end of the film I was disillusioned by the character's frustratingly idiotic decisions, as well as Garrone's attempts to make the audience sympathize with a character who wasn't worthy of sympathy. There's a very tricky tightrope that a director and performer must navigate when attempting to create a morally reprehensible character that an audience can still sympathize with. Garrone and Fonte fall off that tightrope about halfway through the film. Just because Marcello cares for his daughter and works as a dog groomer (the dogs are easily the best part of this film) doesn't make him any less of a detestable character, as exemplified by a resoundingly foolish decision he makes at the end of the second act that made my eyes roll so hard I saw the inside of my skull.

I know I've mainly expressed my dislike for DOGMAN so far, but the performances (especially from Fonte and Edoardo Pesce) are great, Nicolai Brüel's cinematography is a delight (I particularly enjoyed how much the takes here were longer than usual), and there's a satisfying streak of dark humor running through it all. That being said, there's just too many bone-headed decisions made throughout the course of the film for me to recommend it.


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